As an experimental sound practitioner myself, this film totally intrigued me. At first, I had an inkling that Christine is embracing some form of disability as the film’s sound mix made it apparent her home was silent. When she revealed she is a sound artist/performer, the connection clicked. From a critical perspective, it is refreshing to (in her own words) make the audience listen with their eyes. She takes ownership from an ‘audio outsider’ and is process-driven by the visual interactions of waveforms and objects. I tried watching the film muted to gain an empathetic view of what she hears when making. To be honest, I am allured by the fact her field recordings are being objectified and then transformed into other forms of sound; this approach certainly pushes me to think of ways in which I can apply this in my own sound practice.
In terms of teaching, I wonder if I can incorporate this into the next audio experimental workshops. What is it like recording sounds ‘blind’ and tasked the students to physically ‘illustrate’ their sounds without listening to them? Also is this something I need to be aware of when running the current film-making unit, making sure at the start not assuming every student has perfect hearing and if there are any unit video materials that could benefit from being subtitled or not sound-dependant?
Hello Han, your interesting colourful blog, I struggle to read, I just read Anthony’s blog where he mentioned that he is colour blind, it is an invisible disability, which is not out there in your face and should be considered when we as designers and creative people should consider these things in our practices and be more inclusive.