“To me sound is the most important part of movie-making,” he said. “Sound design is sort of everything. People can tolerate such crappy images if the sound design is amazing, but trying to watch something when the sound isn’t present and there is one of the most annoying experiences.”
Language that is location-based.
In his movie trilogy from 2013, Ryan Tercartin created a scattered, fractured consumer society hellscape.
“I edit in After Effects, even though it’s post-[production] software not really made for editing. It’s not real-time. There are visual layers: in your edit window you have these boxes that you’re moving around—one might be sound and the other visual. The sound and effects in editing all grow and inform each other at the same time. I think of video-making and shooting very rhythmically. I’m always thinking musically.”
My personal attitude towards VR is to speak the least, quite ambivalent. I come from the generation that grew up without the internet, yet it is now a crucial part of my life and I can’t imagine my life without it. Virtual reality is a terrain that for me personally seems dangerous. It is a literal and embodied symbol of the merging of the natural and virtual worlds where the boundaries between the two start to blur. Considering just how much time people, especially young, spend indoors, surfing the internet, gaming and so on, I can’t help myself but think that it is a large step towards real post-humanism and I don’t personally like it. But maybe I am just a boomer.
I found Tercartin’s movies situated somehow in virtual reality, some of them are featuring animations that are co-existing with real characters in the same world. His approach to sound design is to take everything that’s available around and relevant. Using a fragmented musical soundtrack mixed with characters’ distorted and tweaked voices then turning into another section of the aural landscape, everything is creating a sound soup of addictive snippets that helps the audience to fully emerge in the erratic combo of pictures, and frankly, should not exist separately. There’s no real beginning and end. It seems that, to be able to digest the visual part of his work, one NEEDS the soundtrack, it’s a fundamental part of Trecartin’s videos and lets you completely emerge in this nonsensical world.
Virtual reality has similar qualities, but it’s still not as immersive as its creators want it to be, unless in the form I have had experienced. Therefore, the user always knows it’s just an uncomfortable headset . Sound is helpful in creating the “immersiveness” of the experience and it will definitely help to make the experience more real (or rather unreal = real in a virtual world).
https://www.eai.org/titles/center-jenny
https://www.artforum.com/video/artists-on-writers-writers-on-artists-87601
