E
I DI N A S L D T A I I B O T K N U I T AM G M MB A E / ST V E E M ME R RI IN ER A L LY L D D T I I I A V T N W I V M I H K D I A NG IJ / AL I D /A F S PR DB S/ UA MS T B A H T O I M L T A S H E EN JE L YR S/ ER U L A I N T C I T 3 D M O A B S T H 1 A S ST TR N RR ER M G/ E M M H B I ER AA R AT GE AN MA D AY F A 1 O E 2 N DA T AN IV /“ A RI S 2 S 2 JU WE M 2- D/ E RE GE S M 01 HI S I 0 1 L Y E K F A 4 / W I O F V I R : A T/ 3 / O N 3
M
DESIGN DOCUMENT
TABLE OF CONTENTS INTRODUCTION
3
THE BEGINNING
5
INVESTIGATED TECHNIQUES
Chosen technique
9 10 13 15
LOCATION SETUP AND DESIGN
16
WHY WFS?
20 23
Augmented audio Polyphonic sound system
Sound designers
SOUND DESIGN
24 24 24 25 25 25 26 27
Timing Requirements sound design Concept sound design Concept Structure Requirements Requirements catwalk section
FINAL SOUND DESIGN
28
BIBLIOGRAPHY
29
APPENDIX
30
/2
How can the narrative fashion
of
revived
media
culture
through
be
digital
in the context of the
iNDiViDUALS brand
?
INTRODUCTION The fundamental goal of this assignment is to
successfully
create
and
deliver
an
innovative way for iNDiViDUALS to present its latest fashion collection. The narrative behind this season’s fashion collection must be conveyed to the audience to which it is presented. Revival is necessary, as the current uses of new media do not reflect innovation. The measure of success will include the depth of coverage of the collection’s presentation in national and international fashion press, and secondly the success of the collection in retail sales PROBLEM STATEMENT: How can the narrative of fashion culture be revived using new media in the context of the iNDiViDUALS brand?
ASSIGNER: AMFI/iNDiViDUALS For the last seven years, the Amsterdam Fashion Institute has operated a Minor program called iNDiViDUALS. The program accepts eight students from each of the Institute’s departments, Fashion, Branding, and
Management
who
collaborate
to
design and produce a full-fledged fashion collection. The intensity of the program activities as well as aspects of retailing and merchandising make the minor project
/3
known as a “reality school”. The venue where
these
collections
have
been
historically legitimized is the catwalk of Amsterdam Fashion Week (AFW), a twiceyearly event that brings together both Dutch and international designers and press. This
presentation
form
has
a
set
of
standards specified through the beliefs and interpretations of the fashion world, and through the manifestation of its constraints and limitations. On the one hand, this environment offers limited playing room to present a collection in ‘another’ manner, as it must meet the professional expectations of the fashion industry. In the last few years, new methods that challenge the traditional presentation form are appearing, namely because of digital and technological developments. The assigner cites a holographic catwalk show from Burberry in early 2012 as one example of how new media is influencing the narrative of fashion culture. Other large fashion houses such as Louis Vuitton, Kenzo, and Ralph Lauren have also sought other forms of fashion presentation with more creative
outlooks
that
stretch
the
boundaries of “standard”. Taking these recent developments into account, AMFI and
iNDiViDUALS
seek
an
innovative
solution that utilizes new media to present their collections in a way that preserves and supports the core values of the brand and also expresses the concept of “reality school”.
THE TEAM The four members of the team from MediaLAB Amsterdam are students from the University of Amsterdam, University of Utrecht, and the VU University Amsterdam, respectively. Hired to work in the creative interdisciplinary environment offered by the MediaLAB, they must produce a solution /4
that utilizes digital new media to revive the narrative of fashion culture. The production of
the
solution
must
occur
within
a
prescribed methodological process. The process (or perhaps more aptly, journey) to producing
a
working
prototype
of
a
solution has evolved through the phases of research, concepting, and design. Each phase has been accompanied by a distinct set of activities that produce cumulative knowledge.
More
details
about
the
activities of previous phases can be found at
the
team
blog
at
http://medialab.hva.nl/individuals.
1
THREE CONCEPTS In order to proceed with the Design phase, the MediaLAB team sought approval on one of three concepts that were developed in response to the problem statement. More information about the details of each of the concepts can be found in their separate
documentation.
One
concept
focused on delivering exclusive content with a social media strategy; another was for an internal system to digitally preserve elements of the group’s creative process; the final concept presented: a soundscape.
THE BEGINNING OUTCOME – CONCEPT PRESENTATION A specific set of insights was produced during the research and concept phases that
led
to
the
development
of
a
soundscape concept. Shortly summarizing these insights: Catwalk shows tend to be very visually focused. As a result, music or sound for fashion shows receives less direct press
/5
attention than other elements of visual spectacle that are used (such as holograms or large screens). Furthermore, in the field of new media studies, sound is less often studied
alone
aspects.
relative
Theories
of
to
other visual
acoustics,
sound
design, and audio engineering have been produced long before the dawn of the Internet, which makes the production of a sound concept all the more interesting to the
four
university
students
from
the
MediaLAB. Furthermore, there is a distinct level of technical expertise that the team can
acquire
as
it
regards
the
implementation of a hardware and software solution. From a surface review of the results of the digital ethnography conducted in the research phase, the team remarked that the concept of immersive sound had been explored to a very limited extent within fashion culture. Sound itself was particularly interesting for the assigner in regards to the ability
of
sound
to
evoke
emotional
intimacy at the show. The assigner in turn compared the effect of delivering an impactful performance to the feeling of hearing a favorite song at a live concert. Sound has been studied extensively as an emotional trigger that is highly personal in terms of its perception. The concept of individuality of perception in fact happens to be directly aligned with the brand equities of the assigner, especially for this particular collection. Via maintenance of an online link archive via a private Facebook page, the team assembled a list of links to information about sound’s deployment in a variety of mediums and formats. These links were closely examined and then categorized in order to orient the team to state-of-the-art possibilities in sound design. In a series of several rapid breakout sessions, the team /6
Â
Producing soundscape provide a
discussed the importance of these projects as well as the leverage each could have in
the
relation to the context in which the sound design would operate.
concept would
STAKEHOLDER AND END USER
serious challenge
ANALYSIS
MediaLAB, and thus chose also out of desire to maximize educational for the
The
MediaLAB
team
sought
first
to
understand why AMFI had chosen for the soundscape concept as opposed for the other two that were presented. Particularly for the soundscape, the idea that the overall message provided by visuals can be
value.
supported by the simultaneous delivery of music and sound is not new. Yet, the team understood that significant personal cultural knowledge
resulting
from
AMFI’s
experience of participating closely in the close-knit community of AFW contributed to the decision. Through indirect influence of these external stakeholders/facilitators, the team believed that AMFI understood that the soundscape concept would fit better with the requirements of AFW as opposed
to
the
other
concepts.
Furthermore, the team believed that AMFI understood that producing the soundscape concept would provide a serious challenge for the MediaLAB, and thus chose also out of desire to maximize educational value. The team also posits that the nature of the MediaLAB’s operation as an educational institute
as
well
as
the
pre-existing
arrangements made between the AMFI and the
coordinative
MediaLAB
about
assignment
also
personnel the
of
nature
influenced
of the
the the final
decision. The key elements of the narrative to be revived are those being created by the current generation of iNDiViDUALS
/7
students. However, the larger goal of the AMFI is to offer this generation as well as future ones the possibility to repeat the solution’s
implementation.
Thus,
the
MediaLAB team had originally envisioned each concept as a platform or a framework for various forms of narrative storytelling. Designing and providing an innovative delivery system for sound at the fashion show would be one way to solve the assignment challenge. Yet, the specific context and location in which such a soundscape must operate provided it’s own set of challenges. Firstly the traditional setup of the audience surrounding the catwalk arranged in a straight line doesn’t naturally lend itself to reproduction of sound. If the catwalk where the models are walking to showcase the fashion pieces isn’t altered, there would be a chance that the audience doesn’t notice that they’re receiving a curated audio experience. What’s more - the typical attitude of the audience affects what design choices can be pursued. Many traditional immersive sound experiences are delivered via headphones, yet it was confirmed that the audience for this particular show would not be receptive to wearing an apparatus on their heads for any purpose. Besides initial concerns about how the sound would be delivered, the actual design of the auditory or musical score requires talent that the MediaLAB team has had to seek externally. Furthermore, the concepting and design of the actual score is dependent on the ability of the MediaLAB to implement a rapid iterative cycle of Research,
Concepting,
collaboration members.
with
and
the
Understanding
Design
in
iNDiViDUALS the
emotive
qualities as well as the overall message of this cohort’s collection requires constant monitoring and continuous feedback. Since /8
2
the
creative
process
of
the
students
engaged on the project is dynamic and in flux, decisions about the audio/musical gestures have yet to be finalized. Thus the ‘Soundscape’ concept as documented has evolved
and
will
continue
to
iterate
significantly.
INVESTIGATED TECHNIQUES
In order to understand how the team could engage with audio hardware and software for narrative storytelling in a live performance
setting
and
also
most
effectively utilize the project’s budget, a wide variety of options were investigated. The team engaged in desk research that included textual analysis as well as video clip reviews to synthesize this knowledge. Descriptions
below
outline
the
basic
requirements for each technique as well as its modus operandi. For each considered technique there appears a short alinea as to why each technique was considered in light of the overall assignment.
BINAURAL RECORDING Two microphones are used to record sound as if it were being registered by the human ear. In most implementations, a dummy head is used to simulate the slight delay and difference in tones when sounds are perceived from different directions. Other alternations of the technique include use
of
full-torso
mannequins,
or
microphones placed inside of each ear of a person at the recording site. The playback experience, especially when delivered with high-quality headphones, “simulates being right at the site of the acoustic events” (Neumann, Current Microphones, Dummy Head). The sound recorded from the left ear is replayed into the left ear and vice
/9
With the introduction and widespread adoption of
smart
mobile devices, the ability to deliver a personalized
sound incorporates
experience
sonic
elements
of the user’s context is
apparent.
that
more
versa. The most precise replication of the recording is usually achieved when the recording is played back using headphones. The human brain unconsciously recognizes the slight delay between the sound from the left and the right ear and is able to identify the direction from which the sound is coming. This technique works best if the user of the headphones doesn’t move or rotate his head during playback. When he moves,
the
perception
of
the
sound
direction moves with the head, which making
the
illusion
less
realistic.
Although binaural recording and playback through high quality headphones offers a highly personalized and immersive auditory experience, the attendees of a fashion show tend to follow the movement of models by moving their head left and right. Unless individual motion sensors are coupled with the headphone playback system and used to calibrate the recording’s playback for the movement of the head, the realism of the illusion will suffer. Furthermore when trying to
achieve
the
illusion
of
a
sound
originating spatially from directly in front of or behind the head, it’s rare to find an affordable pair of capable headphones.
AUGMENTED AUDIO With the introduction and widespread adoption of smart mobile devices, the ability to deliver a personalized sound experience
that
incorporates
sonic
elements of the user’s context is more apparent. Applications (apps) are being developed and marketed consistently, to the extent that the term ‘augmented audio’ has
graced
the
audio
professional’s
household lexicon. Most of these apps use the device’s built-in microphone to record the audio landscape of the user. The software /10
transforms the recorded sounds virtually in real-time. These sounds are played back to the listener, but usually require playback to happen through headphones. For example, ‘The
Inception
App’
developed
in
collaboration with renowned composer Hans Zimmerman for the iPhone uses this technique to give the listener the feeling they are immersed in a dream sequence from the feature film Inception. This technique was examined due to
the
fact
that
most
fashion
show
attendees are in possession of their mobile devices while they’re watching the show. The devices transform the input from individual microphones but transform them with an identical algorithm and play the same ambient soundtrack. The challenge to implementing this type of sound design is the time needed to develop an app as well as
licensing
challenges
in
making
it
available to the audience on iPhone and Android operating systems in time for the show.
Furthermore,
there
is
a
high
likelihood that the attendees would be using their devices to capture photos and/or
engage
with
social
media
as
opposed to remaining focused on the app. However,
the
delivery
of
an
augmented audio experience doesn’t have to be limited to the screen of the mobile app. The concept of augmented audio can be extended to include nearly any method of live performance or ambient installation that
is
augmented,
incorporating
data
or
altered,
collected
by
using
a
computer. Immersive audio is a hot topic in many fields of new media, especially in that of video game sound. The concept of facilitating adaptive sound has been made possible
by
software
interfaces
that
generate audio signal output based on coded
parameters
that
respond
computerized input. This technique has /11
to
been implemented in a number of live performances that use sensor input to drive the performance, or sometimes indicate to the
technician
that
the
sensor
has
registered at a certain threshold. The MediaLAB team participated in a Do-It-Yourself audio workshop with Arthur Bennis of the Hogeschool Arnhem and Nijmegen to investigate if it was possible to build Arduino software with breadboard extensions that would power sensors that could feed data to augment a linear music composition. The workshop was a basic instruction of how to install LEDs and photo resistors
to
sense
the
surrounding
environment. What became clear to the team during the day-long workshop was the level of programming language needed to fully customize a solution that could be installed to serve an audience of more than 300
persons.
Arthur’s
explanation
granularity of customizations possible with the Arduino or its recent sibling the Raspberry Pi in combination with variety of commercial and open source MIDI software revealed that those working with Arduino usually
build
highly
experimental
[and
sometimes fragile] installations using a ‘hacked’
or
repurposed
application
to
deliver a live performance. The MediaLAB team eventually decided to steer away from designing an Arduino-operated soundscape due to the audience’s perception of the soundscape as playing an ancillary role compared visual elements, as well as the time
remaining
concerned
in
sourcing
the
project
would-be
as
it
talent.
Computer vision was a specific tactic that the team investigated for its ability to make an interactive experience. A video camera can be connected to a computer to a program that runs an algorithm over data gleaned from the image feed. An example of how this /12
technique was implemented was the Tales of the Bridge installation, where a video camera was mounted on a nearby building to observe the traffic at various locations on the bridge. This input in turn fed a software program
that
was
semi-automated
to
trigger various elements of a composition. The activity of the visitors themselves determined the uniqueness and degree of change in the composition. This installation represented
the
collaboration
between
audio professionals from several different specialties. The composition was woven into a three-dimensional soundfield after it was recorded. The team decided that pursuing
augmented
audio
through
computer vision as an element of the final design was inconsistent with the overall message of this iNDiViDUALS collection. Even so much as passive interactivity granted to the audience members doesn’t fit their expectations in the sense that it would be distracting to experience and to participate. This consideration takes into account the range of other departures from the ‘traditional’ presentations decided on by this S/S 14 collection of iNDiViDUALS.
POLYPHONIC SOUND SYSTEM Multichannel sound systems have grown in the last twenty years to regard 5.1 surround sound as a standard [as well as a household term] for home theater systems across the world, as well as in movie theaters, cinemas, concert
venues,
and
the
like.
The
spatialization of sound is delivered through multiple channels; sometimes even with 8 channels, where each channel represents the spatial location of the sound source that is seeking to be replicated. The MediaLAB team’s
desk
research
into
this
audio
technique yielded that it’s used to increase
/13
the
Producing soundscape provide a
perceptual
realism
of
the
audio
experience as well as increase immersion.
the
concept would
serious challenge
MediaLAB, and thus chose also out of desire to maximize educational for the
value.
After speaking with JURLights, the company who has historically been hired Amsterdam Fashion Week to provide lighting and audio services, the team understood that most catwalk shows musical accompaniments were presented in monophonic sound. Although
there
multiple
speakers
and
subwoofers used, the console where the speakers are wired does not differentiate between which speaker delivers which sound. The ephemerality proffered by any catwalk show in general makes it important that the experience is memorable. The philosophy
behind
giving
a
catwalk
presentation in the first place is not only to showcase particular artistic creations but to demonstrate the outcome of a creative process that has commercial goals. As a result, regardless of any particular musical or auditory elements that will appear in the final design, the MediaLAB team seeks a technique where sound can be realistically spatialized. A
recent
innovation
in
this
technology for cinema spaces was created by Dolby, a method of delivering a cinematic sound composition through a 64speaker custom installation solution that the company named Atmos. According to the company’s website, the system allegedly allows sound designers “unprecedented control” over how they spatialize sound within the space. Due to the educational goals of the project, the budget for implementing such a solution at a one-time performance makes the Dolby solution inaccessibile.
Furthermore,
whether
delivering a polyphonic (sound from many directions), quadrophonic (sound from four directions) or even an ambiphonic solution (two
directions),
the
delivery
multichannel sound through traditional /14
of
means has a significant limitation: the socalled spot
“sweet spot”. The location of this results
from
cross-talk
between
speakers, essentially “noise” that distorts what the left ear and right ear perceive respectively.
Therefore
most
traditional
surround and polyphonic sound systems have spatial restrictions where the audio must be delivered to an audience that is situated directly in the middle of the speaker array.
CHOSEN TECHNIQUE Wave Field Synthesis (WFS) creates sound wave fronts by synchronizing an array of speakers that producing sound effects from an ‘artificial’ source.
As opposed to
surround systems, Wave Field Synthesis eliminates the creation of a sweet spot. Instead,
WFS
offers
the
ability
to
“hyperlocalize” sound to a distinct source point within a specified area inside of a mathematically arranged array of speakers. Thus, space becomes a compositional parameter that is incorporated to the traditional musical score. The procedure for the Wave Field
Figure 1
Synthesis was developed by prof. Berkhout at Delft University of Technology. The system has the ability to produce a virtual, physical copy of a genuine sonic field. By producing elementary waves forming a radiating wave from a virtual source, true spatial audio is created. In other words, this system uses software to calculate how a sound wave would spread inside of the playback room area. Then it uses the speakers individually to play the sound in a way that all the speakers their waves combined recreate the exact size and shape of the original sound wave.
/15
TECHNICAL SPECIFICATIO NS The Game of Life’s Wave Field Synthesis system
consists
of
specific
structural
elements that are detailed in Appendix A of this document. The loudspeaker array was designed by Raviv Ganchrow (Baalman,
3
2007, 457). The 192 speakers are grouped into units of 8, and mounted onto twentyfour trolleys with wheels that each require two power lines.
LOCATION SETUP AND DESIGN
The presentation of the Spring/Summer 2014 iNDiViDUALS collection will be on Friday 12 July 2013 at 8:00PM in the Transformatorhuis,
opening
night
of
Amsterdam Fashion Week. The date and time of the fashion show has been up until the publication of this document held entirely secret. More information about the facilities available at the Tranformatorhuis of the Westergasfabriek can be found in Appendix C. The setup for the Game of Life’s
Wave Field Synthesis system is dependent on
several
factors.
Firstly,
the
Transformatorhuis location is too large in terms of acoustics to place the arrays of speakers on all four sides of the audience and maintain the quality of the wave field. Secondly, there needs to be a clear line of sight for photography crews to be able to make pictures and video recordings of the models. Therefore, and also because of the
assigner’s wish to keep the show very small and intimate, the number of allowed spectators at the show will be kept low.
/16
Approximately 200 people will be invited to the show. In comparison: the previous iNDiViDUALS show, held at the Amsterdam Fashion Week in January earlier this year, accommodated around 900 spectators. Due to these factors, and the fact that as many
people
as
possible
need
to
comfortably fit inside of the wave field area, the team has developed two options: The
U-Shape: In this setup on the side
where the Photographers are standing there are no speakers in place. In stead these speakers are added along the other sides to increase the floor size. This means losing one side of speakers meaning sound can now come from only 3 sides. The Tunnel Shape: In this setup the speakers are placed on two opposing sides of
the
audience.
photographers
and
The the
side
of
entrance
the from
backstage are left free of speakers. This way the
sound
can
only
come
from
two
directions. For the system this still means that sound can be placed within the audience. Still the sound can only come from two directions. For the show the rectangle setup is simply too small to fit enough people for the show. The choice is now between having better spatialisation or more people at the show. If we use the rule of thumb for 0,5 person per sqr meter to be comfortable.
/17
Â
• Rectangle:
96x2192
• U- shape:
141,7x2 284
• Tunnel Shape:
171,7x2 343,4
The win of square meters: • Rectangle maximum = 10 x 14 = 140 sqr minus walking space = 8 x 12 = 96 sqr • U shape = 14 x 12.9 = 181 sqr minus
Figure 2 Floor map U-shape by Wouter Snoei
walking = 13 x 10,9 = 141,7 sqr • Tunnel shape = 15,75 x 12,9 = 203 sqr minus walking = 15,75 x 10,9 = 171,7 sqr
Figure 3 Floor map Tunnel shape by Wouter Snoei
Shape
System Setup
M2
Minus Walking
M2 Result
Rectangle
10x14
140
8x12
96
U Shape
14x12,9
181
13x10,9
141,7
Tunnel Shape
15,75x12,9
203
15,75x10,9
171,7
/18
As
regards
to
the
audience,
in
a
conventional catwalk setup the audience is seated in rows parallel to the aisle. The volume of these rows mostly vary from two to five, but more and more fashion labels currently are sticking to only one row of audience seated next to the catwalk. This to give every spectator the impression that there is no such thing like a ‘second best row’ to be seated on, since sitting ‘front row’ appears to be a highly desirable privilege in Figure 4
the fashion industry. Since the shape of the catwalk no longer will be straight but square, an empty space will be formed in the middle of this square. The assigner has chosen to make this space the area where the audience will witness the show. This means that at the iNDiViDUALS show the audience won’t sit around the catwalk, as is the conventional setup of fashion shows, but the audience will be surrounded by the catwalk. Therefore, models won’t run the catwalk up and down in front of the spectators, but all around them. With this in mind, the fact of having people sitting at the show also isn’t certain anymore. The idea of letting the audience stand at the show now becomes evident. This would also imply that the audience can walk around within the space inside the square
catwalk,
generating
a
more
democratic feeling of watching a fashion show. The issue of being seated front-row, namely,
will
be
taken
away
with
an
audience standing and walking around, having no fixed ‘second best’ place to sit. Additional, the technical specifications of the Wave Field Synthesis neither will have a ‘sweet spot’ to sit or stand in order to have the best sound experience.
Figure 5
Good note to mention, the catwalk will be, in all likelihood, not a staged runway. This means that the models will walk on the same level as the audience is /19
standing.
Nevertheless,
to
divide
the
“audience space” from the “model space” the audience in the middle of this catwalk setup will be surrounded by hip-high fences.
MODELLING The aisle that serves as the runway for the models will be deformed from a straight line into a square. This provides a runway where models will not run up and down, like they would on a straight aisle, but are able to walk a whole circle, or, in this case: square, without crossing their previous and following colleagues on the same aisle. Also, there will be no evident ‘posing point’
4 /20
where the models will hold their walk for a moment and pose before they turn around and continue their walk down the aisle towards the backstage area. This point, at the conventional catwalk setup, is, due to its shape from the straight aisle, situated at the end of the catwalk. Since the models will not pass a similar ‘dead-end’ point on a catwalk with a continual shape, the actual posing and turning can arbitrarily be chosen by the models themselves or even be excluded from their walk.
WHY WFS?
Gilles Huygen, the owner-operator of the Game of Life foundation stated that the Foundation’s particular system hadn’t been in the context of a fashion show before. To reiterate the research question in light of the development of a concept, the final design must use audio to tell the story
of
this
particular
iNDiViDUALS
collection as well as be available for us as a platform for future collections. Recreating a realistic audio landscape via wave field synthesis is not only an effective way to convey the ideas, feelings, and overall message of the collection, it is an innovative
one. The synthesised wave front makes for a very realistic experience wherever one is placed inside the system. Surround systems don’t deliver this kind of experience. As soon as the listener walks out of the sweet spot of such a surround system the hardware of the speaker itself becomes the reference point of the heard sound, whereas the WFS creates virtual acoustic sources which are produced by multiple elementary waves, which provide the same behavior as real sound sources. Furthermore, aspects
of
wave
the field
new
media
synthesis
are
interesting. Using computers isn’t recent, but the ability to creatively code and produce these sounds live is in fact rather new. 3D graphics software makes visual realization of the spatial properties of the waves
touches
on
theories
of
data
visualization. This way the audience does not experience the sound coming from a particular speaker because the waves of the speakers combine into a larger wave originating from a virtual point behind the speakers. There is also the possibility to let the virtual audio source be inside the speaker arrangement. Basically, by inverting the delay times in the creation of the larger wave through multiple elementary waves the virtual source is now inside the playback room area. To certain degree the audience can now walk around the virtual source. With this system the audience will experience the same change in perception of the audiosource when they walk around
/21
Â
inside of the wave field area, as if they walked around in the room where the audio is recorded. This means that it is a true spatial audio reproduction.
ADDITIONAL DESIGN FACILITATION W FSCO LLIDER Super
Collider
programming
is
an
language
object-oriented developed
by
James McCartney in 1996 for real time audio
synthesis
and
algorithmic
composition via sound wave programming. WFSCollider is a specific program created with this language to deliver sound for the Game of Life system. The software is open source and was downloaded for free to two personal
computers
by
the
MediaLAB
Amsterdam team. The software offers a graphical user interface that makes it possible to visually spatialize each the path of each sound and its timing within a linear score.
SOFTWARE EXPERT Wouter Snoei is a postdoc from the Hogeschool voor de Kunsten Utrecht (HKU) who helped to develop and program the WFSCollider software for use with the Game of Life system. He’s a technician who also is responsible for the use of the system during
live
presentations
and
a
SuperCollider super user. He’s been hired on a per-day basis to deliver tutorials to one of the sound designers and participate in testing days.
LOGIC PRO A standard software used by audio experts and hobbyists alike, the team purchased LogicPro
to
begin
experimenting
with
creating a soundscape. It became clear to the team that the level of customization to any sound or music is high. Despite the flexibility offered, the software interface is /22
relatively intuitive for those familiar with Digital Audio Workstations and have a basic understandings of the principles of sound design. The key to using this software is the ability to create and layer a variety of sound elements before importing them as a single score element to the WFSCollider.
AUDIO ADVISOR The
team
hired
Arnoud
Traa,
audio
professional and owner of De Auditieve Dienst, a service business that produces compositions for sound art projects. Arnoud himself is a graduate of the Hogeschool voor
de
Kunsten
Utrecht
(HKU)
with
specializations in radio dramas and Foley sounds. His function is to guide the MediaLAB students via in-person meetings several times weekly. His responsibilities include supervising the creative process and being able to translate the needs of the MediaLAB team and their assigner to the eventually-hired sound designers.
SOUND DESIGNERS The MediaLAB had initially taken on a role as an agency in search of artists with experience in composing specifically for the Game of Life’s WFS system. International sound collective Soundlings has been hired to produce a composition piece for the introduction of the show. Sound engineer and designer Tijs Ham is the creative lead on the project, chosen for his experience in working with Super Collider code as well as creating and coding compositions for live performances. Pinar Temiz has been hired as an assistant project manager, serving as well as a press manager for the collective. Other sound artists who will be featured on the composition are Robin Koek, Georgios Papadakis and Roald van Dillewijn.
/23
Â
5
SOUND DESIGN TIMING The narrative of the S/S 14 collection is sought to be represented in a musical composition minutes.
lasting
The
walk-in
approximately period
for
33 the
audience to enter the Transformatorhuis will last approximately ten minutes. After all attendees have entered the and wait for the show to start, also taking 10 minutes. This entrance of the audience and them waiting for the show to start we will further indicate as the ouverture. After this ouverture, the actual show will start. Approximately, the show will last 13 minutes. After the show’s finale, there will be time for the audience to leave the venue and attend the following program in the adjacent buildings of the event
location,
estimated
to
take
10
minutes as well but during the outro there will
be
no
musical
composition.
This
timeline reveals that not only during the show, but also there is room to experiment with the sound design.
REQUIREMENTS SOUND DESIGN The biggest requirements from the assigner are that the emphasis of the entire event is placed on observation of the garments and the underlying messages these are carrying. The sound design should influence and help to carry this message and encourage its interpretation and assimilation by the audience. The goal of the piece is to
/24
Â
contribute
to
presentation
an of
artful
the
and
impactful
collection
without
dominating the focus of the performance. The
success
of
this
year’s
iNDiViDUALS AFW presentation is focused on generating a demand in retail sales and the accumulation of earned media via the syntheses of online press channels and social media. Similar to the fact that the student teams are working together for the first time to accomplish a common goal for the
performance,
the
MediaLAB
Amsterdam’s milestone of pursuing a sound project is shared by the AMFI via a sisterhood
to
the
Hogeschool
van
Amsterdam. The measurement of these aspects as well as demand and regard from the audio artist community is intended to evaluate the results of the collaboration as well.
CONCEPT SOUND DESIGN The concept of the sound design that the MediaLab team sent to the Soundlings collaborative is based on the story of the collection [see appendix B].
THEME: OPPRESSIVE SYSTEM Challenging the operation of a system, that involves a strict set of expectations and responsibilities. Dealing with the struggle that is accompanied with the desire to be free. Choosing your own way within the system, without rejecting it entirely.
STRUCTURE The entire sound composition is divided into two parts; an intro of 15 minutes when guests are entering venue and catwalk section 13 minutes. Contrast between these parts must be evident, although cohesive.
/25
Design of catwalk will be a circle. Circles and cycli have to be evident in the sound design. Also that these cycli are repetitive, but slowly morphing and thus slightly change with each repetition.
REQUIREMENTS 1. Intro: Building up towards point of tension 2. First eclectic sound composition, organic, unstructured → symbolising freedom, spontaneity, “make your own rules”. 3. Sounds are pleasant to listen to, separately and together in their arhythmical composition. 4. Eventually structure emerges: sounds on same pace, same interval, same rhythm.
5. Become “mechanic samples” marching in same direction → symbolising the system, structure, conformity. 6. This composition is dissonant, all parts together are uncomfortable to listen to. 7. Tension in this composition is evident. 8. No climax: Use spatial effects of WFS to “push” this cringing sound out and introduce show soundtrack → contrast between intro and show.
Photo by AFW
/26
REQUIREMENTS CATWALK SECTION 1. Sound that is familiar to audience, that tells them that the show has started. 2. Play with expectations of this sound, in a broad sense → spatialize (WFS), morph/remix, syncopation, etc. 3. Possibility to move different sound tracks in opposite directions, with possibilities to include corresponding choreography of the models. 4. Unexpected ending. 5. Clear ending, but not evident why that ending and why at that time. 6. Surprising, but not fulfilling. 7. Open ending in terms of leaving the audience with questions, but not in terms of whether this was the ending or not.
/27
Â
DESCRIPTION FINAL SOUND DESIGN
The sound piece for the first part focused on experimenting with the dynamic movement of waves in a rule-based acoustic space. Sounds of natural materials were transformed and filtered to represent the collection’s theme of struggle - cracking wood, clanging metal, crumbling stone. Musical, resonant guitar riffs and the improvisational crooning of a saxophone fused to produce a dark ambience, forming physical structures of sound that create new spaces for the listener As the models begin to make their way around the catwalk, the soundscape morphed into the sort of cutting edge pop music which front-row goers know and love. Still carrying references to the more abstract sonic experience that came before, electronic beats emerged as the broken guitars and vocals were harmonized with the colors of gamelan. Layers of sounds surrounding the listener, complementing the movement of the garments and the intricacy of their designs. The Soundlings also made a binaural recording to replicate the immersive, 3D sensation in headphones for those who weren’t one of the 250 to be invited to the experience of the WFS system.
MORE INFO: WWW.MEDIALAB.HVA.NL/INDIVIDUALS
/28
BIBLIOGRAPHY Baalman, Marije A. J. “On Wave Field Synthesis and Electro-Acoustic Music - State of the Art 2007”. 457- 464.
IMAGE BIBLIOGRAPHY Figure 1 Wikipedia. 2007. http://en.wikipedia.org/wiki/File:Principle_wfs.jpg Figure 4 Westergasfabriek. 2011. http://www.westergasfabriek.nl/zakelijk/verhuur-van-locaties-engebouwen/transformatorhuis Figure 5 Bolo. 2012. http://www.bolo.nl/chateau-techno-5154
/29
APPENDIX A [Technical Specifications WFS from Game of Life] 192 (one hundred and ninety-two) speakers [Seas coaxial] 12 (twelve) subwoofers [Hypex Class-D] 8 (eight) MOTU 2408mk3 [Peripheral Component Interconnect (PCI-e) hard disc recording system] 2 Hear Technologies Extreme Extenders [making possible the extension of ADAT fiberoptic cables that transfer digital audio] 2 Apple Powermac G5 quadcore 2.5 GHz 512 MB [desktop computers ca. 2006 to divide processing tasks and a standard video cards] 1 Apple Mac Mini 1.66 Ghz Intel Core Duo 512 MB 80 G superdrive [additional computing power to support the peripheral audio hardware] 24 Behringer Ultragain ADA8000 [to convert analog audio signals to digital and vice versa] 24 Hypex amps 24 trolleys to mount the speakers on 24 multiple sockets Power Consumption = 3500 Watts
APPENDIX B [Initial Briefing from iNDiViDUALS S/S 14] The MediaLAB received the following text from the Branding students of the iNDiViDUALS to offer a subtext to this season’s story: STARTING POINT This is different We stay true to what we are Free yet connected Restrictions define freedom We create autonomy CONCEPT TEXT We don’t want rules We don’t need rules We are responsible Each individual has its own process towards freedom We don’t choose the usual way Struggling is part of our intuition
/30
We are autonomous We are free With restrictions Without rules It is at this moment That all options are open But there is too much to fulfill Our lives are tensed, explosive and dynamic We trust on intuition We decide on the spot Our search for freedom makes us awake and alert We are free Yet connected CORE VALUES Autonomous Struggle Defining freedom Different Free, yet connected ESSENCE OF THE STORY (B) We hebben eindeloos veel vrijheid, maar zo voelt het niet. Juist omdat alles kan en mag voelen we ook de druk om alles te doen en te moeten. Hierdoor krijgen we een ‘struggle’. Hierdoor worden we restless, awake, benauwd. Je bent verantwoordlijk voor je eigen vrijheid. We hebben een eigen beoordelingsvermogen, dit stellen we boven de beoordeling van de gemeenschap/meerderheid. [We have endless freedom, but it doesn’t feel that way. Rightly so - because as everything can and may, we feel the pressure of must and do from everything. Through this we get a ‘struggle’. Through this we become restless, awake, oppressed. You’re responsible for your own freedom. In our work we have our individual critical judgments, which we regard as more important than those of the community/majority.] Je wilt geen regels, niet uit anarchisme, maar je bent zelf bezig om je eigen regels te bepalen. Het is het herdefinieren van vrijheid. Het is ONZE weg. Het hoeft niet via de makkelijke weg; je kiest je eigen weg. We gaan de confrontatie niet aan net als bij DUALS, maar we negeren het ook niet. We kiezen een midden weg. We zoeken de confrontatie niet op maar we rennen er ook niet voor weg. [You don’t want rules, not out of anarchy, but you’d rather decide on your own rules. It’s the redefinition of freedom. It’s OUR way. It doesn’t have to go the easy way; you /31
choose your own way. We aren’t seeking the kind of confrontation that DUALS was, but we’re not denying it either. We choose for a middle way. We’re not searching for confrontation but we’d not run away from it either.] De kleding is vrij basic en zonder gezicht. Vrij om zelf invulling aan te geven en in dit opzicht past het dus bij de vrijheid van het concept. De stukken zijn niet opleggend of gebonden aan trends. De identiteit van de drager geeft identiteit aan het kledingstuk. [The clothing is freely basic and without image. Free for freedom’s sake. The pieces aren’t founded on or bound to trends. The identity of the wearer defines the identity of the piece itself.]
APPENDIX C
Cultuurpark Westergasfabriek The main locations of the Westergasfabriek where the AFW catwalk will take place are the Gashouder (17), the Westerliefde (47) and the Transformatorhuis (18). The show of iNDiViDUALS will take place in the Transformatorhuis, more specifications can be found in Appendix [ ] Maximum Capacity: 750 persons Total area: 700 m2
/32
Measurements Total: 46m x 16m Available: 16m x 34m Height: 9.7m Highest Entrance: 4.2m x 4m Facilities Floor: Polished Concrete Water: 3x plus 2x drains Power: 5x 125 Amp, 1x 63 Amp and 12x 220 volt outlet divided over three groups Light: Basic Worklight Heating Climate Control Toilets 5x women, 3x men, 1 urinal Showers: 4x Dressing Room Kitchenette Technical Room
Empty Westergasfabiek
/33
Â
View of Empty Transformatorhuis
Transformatorhuis ...
/34
Â
APPENDIX D [concept sketch by Sound designer Tijs Ham]
/35
Â