kaleidoscope15_018
See Kaleidoscope Audio/Video Entries on YouTube: youtu.be/x4htuyUo4J0
Kaleidoscope: BXA Junior Seminar Audio/Video
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Condensation
Jake Berntsen
BHA Philosophy and Music Technology
Condensation is composition that aims to identify specific elements of the steampunk aesthetic and represent them through sound. Distinct characteristics such as a fascination with analog machinery, generally dismal landscapes, and the juxtaposition of both dated and futuristic motifs are represented aurally. These representations are either literal (attempts to directly mimic sounds that might be heard in a steampunk universe) or analogous (attempts to mimic general motifs that might be found in a steampunk universe by creating clearly similar patterns). Examples of the literal type include sound effects that appear throughout the piece such as trains, metal gears grinding, factories from a distance, metal being pounded, steam blowing, etc.
It is worth noting that some of these sounds were field recordings, but others were either purely synthesized or heavily processed-for example, I sampled a lot of grandfather clocks that I eventually slowed down to emulate gears clicking into place. I tried to make every sound effect sound inherently dark, emulating the emptiness often captured in steampunk's post-apocalyptic settings. Sounds like trains and factories and even hammers can sound fun and almost cheesy, because contexts like cartoons and video games are designed to make them sound ridiculous. Making the sounds appear to be farther away from the listener made them sound more sinister and cinematic. Examples of the analog include my attempt to musically showcase the way steampunk juxtaposes past and future aesthetics.
Perhaps the most fascinating idea that the subculture brings to the table is the idea of what people in the past thought the future would look like. I emulated this pattern in multiple ways – a melody that follows the counterpoint and melodic structure of Baroque music, but made the timbre of the instrument sound synthesized and futuristic. Additionally, I produced the drums to sound modern, while processing the sound effects and recordings to sound like they'd been recorded in the 50s or earlier. To achieve this effect I used old microphones and a variety of EQ and vinyl distortion effects.
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Subcultures of Instagram
Steven Kosovac
BHA Environmental Studies and Art
Nicole Yoon
BHA Creative Writing and Art
A collection of Instagram posts from three unique subcultures – vegans of Instagram, skinheads, and “lovestagram” (Korean couples who post pictures of their coupledom).
Unconstrained by geography, users of Instagram can construct a persona and self identify with a subculture by using hashtags and simple search tools. Presented together for comparison between the visual and textual aspects of each group, the posts of real users demonstrate the digital translation of real-world subcultures.
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#aesthetics
Jessica Shen
BCSA Computer Science and Design
This work is derived from the Seapunk subculture, a subculture centered around the nostalgia for 1990’s internet culture. Described as a mashup of early techno-rave, 90’s R&B, and ocean themes, Seapunk’s aesthetic has been called an “inside Web joke that feeds off its own ridiculousness” (New York Times). However it is precisely this ridiculousness that has fueled its viral nature on social blogging platforms, namely on Tumblr. While its music and aesthetics are comparable to Vaporwave, Seapunk sprouted from mysticism that early technology had, combined with ocean visuals and themes.
This video combines the essential elements of Seapunk culture: the remixing of music, techno sounds, and ocean sounds as well as the remix of graphics reminiscent of early graphics technology. As a music video, the work displays the core of Seapunk – because much of Seapunk lives online, the graphics and music are exactly what Seapunk thrives on. The digital nature of Seapunk has given rise to fashion, social media trends, meme culture, and dance music simply through these mediums. As a very recent subculture, it has revolutionized the communication and inception of a subculture. How will technology continue to shape the world of subcultures?
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Death of the Hipster
Micah Wallen
BHA Ethics, History, & Public Policy and Music Performance
The 1940s was a time period in America’s history of great uncertainty, due in large part to war across the ocean, and racial divides domestically. This decade saw the rise of the subculture known as “Hipster.” The Hipsters were generally lower to middle-class citizens in their 20s and 30s who lived lifestyles in rejection to the lifestyle of the upper classes, and the dominant culture as a whole. The Hipsters embraced activities that went against the social norms at the time or considered to be culturally taboo. Most notably, the Hipsters turned to the music style of Jazz, which musically is known for having very few rules or guidelines, leaving the performer free to communicate their feelings through their music. The dominant culture participants looked down on Jazz and instead embraced more accepted and organized forms of music such as swing. However, eventually the Hipster subculture became so exclusive, rigid, and popular, that it became a form of dominant culture in and of itself. This change over time represents the death of the Hipster subculture, because it resulted in loosing that free, rule-breaking spirit that was the foundation of its creation.
This artifact, is a composition about this change over time. This composition demonstrates the dominant culture attitude through musical themes and forms, and then demonstrates the Hipster subculture, in a much more free form, and then eventually, the transformation of the free form into a rigid one.
kaleidoscope15_018
See Kaleidoscope Audio/Video Entries on YouTube: youtu.be/x4htuyUo4J0
Kaleidoscope: BXA Junior Seminar Audio/Video
----
Condensation
Jake Berntsen
BHA Philosophy and Music Technology
Condensation is composition that aims to identify specific elements of the steampunk aesthetic and represent them through sound. Distinct characteristics such as a fascination with analog machinery, generally dismal landscapes, and the juxtaposition of both dated and futuristic motifs are represented aurally. These representations are either literal (attempts to directly mimic sounds that might be heard in a steampunk universe) or analogous (attempts to mimic general motifs that might be found in a steampunk universe by creating clearly similar patterns). Examples of the literal type include sound effects that appear throughout the piece such as trains, metal gears grinding, factories from a distance, metal being pounded, steam blowing, etc.
It is worth noting that some of these sounds were field recordings, but others were either purely synthesized or heavily processed-for example, I sampled a lot of grandfather clocks that I eventually slowed down to emulate gears clicking into place. I tried to make every sound effect sound inherently dark, emulating the emptiness often captured in steampunk's post-apocalyptic settings. Sounds like trains and factories and even hammers can sound fun and almost cheesy, because contexts like cartoons and video games are designed to make them sound ridiculous. Making the sounds appear to be farther away from the listener made them sound more sinister and cinematic. Examples of the analog include my attempt to musically showcase the way steampunk juxtaposes past and future aesthetics.
Perhaps the most fascinating idea that the subculture brings to the table is the idea of what people in the past thought the future would look like. I emulated this pattern in multiple ways – a melody that follows the counterpoint and melodic structure of Baroque music, but made the timbre of the instrument sound synthesized and futuristic. Additionally, I produced the drums to sound modern, while processing the sound effects and recordings to sound like they'd been recorded in the 50s or earlier. To achieve this effect I used old microphones and a variety of EQ and vinyl distortion effects.
----
Subcultures of Instagram
Steven Kosovac
BHA Environmental Studies and Art
Nicole Yoon
BHA Creative Writing and Art
A collection of Instagram posts from three unique subcultures – vegans of Instagram, skinheads, and “lovestagram” (Korean couples who post pictures of their coupledom).
Unconstrained by geography, users of Instagram can construct a persona and self identify with a subculture by using hashtags and simple search tools. Presented together for comparison between the visual and textual aspects of each group, the posts of real users demonstrate the digital translation of real-world subcultures.
----
#aesthetics
Jessica Shen
BCSA Computer Science and Design
This work is derived from the Seapunk subculture, a subculture centered around the nostalgia for 1990’s internet culture. Described as a mashup of early techno-rave, 90’s R&B, and ocean themes, Seapunk’s aesthetic has been called an “inside Web joke that feeds off its own ridiculousness” (New York Times). However it is precisely this ridiculousness that has fueled its viral nature on social blogging platforms, namely on Tumblr. While its music and aesthetics are comparable to Vaporwave, Seapunk sprouted from mysticism that early technology had, combined with ocean visuals and themes.
This video combines the essential elements of Seapunk culture: the remixing of music, techno sounds, and ocean sounds as well as the remix of graphics reminiscent of early graphics technology. As a music video, the work displays the core of Seapunk – because much of Seapunk lives online, the graphics and music are exactly what Seapunk thrives on. The digital nature of Seapunk has given rise to fashion, social media trends, meme culture, and dance music simply through these mediums. As a very recent subculture, it has revolutionized the communication and inception of a subculture. How will technology continue to shape the world of subcultures?
----
Death of the Hipster
Micah Wallen
BHA Ethics, History, & Public Policy and Music Performance
The 1940s was a time period in America’s history of great uncertainty, due in large part to war across the ocean, and racial divides domestically. This decade saw the rise of the subculture known as “Hipster.” The Hipsters were generally lower to middle-class citizens in their 20s and 30s who lived lifestyles in rejection to the lifestyle of the upper classes, and the dominant culture as a whole. The Hipsters embraced activities that went against the social norms at the time or considered to be culturally taboo. Most notably, the Hipsters turned to the music style of Jazz, which musically is known for having very few rules or guidelines, leaving the performer free to communicate their feelings through their music. The dominant culture participants looked down on Jazz and instead embraced more accepted and organized forms of music such as swing. However, eventually the Hipster subculture became so exclusive, rigid, and popular, that it became a form of dominant culture in and of itself. This change over time represents the death of the Hipster subculture, because it resulted in loosing that free, rule-breaking spirit that was the foundation of its creation.
This artifact, is a composition about this change over time. This composition demonstrates the dominant culture attitude through musical themes and forms, and then demonstrates the Hipster subculture, in a much more free form, and then eventually, the transformation of the free form into a rigid one.