# frsemr36g planning transcript
i'm going to paste a transcript. can you clean it up into readable paragraphs (keeping the text though - don't change the text)

Yeah. Okay. I agree. So, brains, tell us what we will be doing. What are your dreams? Whatever. Okay, so we've done it before, but we have new tests. And have we do we have do we literally just have all these PDFs and things like that? What's something referred to as a PDF is in fact in library research to get a PDF.

00:17:13:15 - 00:17:44:44

Unknown

That's okay. I will, I will. I just finished reading all of that alive. Again, this. Okay. So, so my sense is that we like of the types of we don't need a million texts at all. What are the things we talked about on the call? What seemed cool to me is to have one theoretical text, and that's the test of the translator and then some potpourri of poems that and it can be almost anything, just people.

00:17:44:49 - 00:18:09:12

Unknown

But having is where people are like, you know, saying some words that are more poetic in a zone where people are saying some theoretical framework that helps make sense of translation, that that seems awesome. Right? And is to mechanics. Yes. So we talked about maybe a person and we also looked at them looking at one way, which we did last year.

00:18:09:12 - 00:18:46:49

Unknown

Right. Which is a true translation of a and we did, which we have again this year as an option. I think that one works especially well if they're acting things out, are moving their bodies, but I don't think the person I think works better if we're doing something like objects, like, yeah, something I do in the project.

00:18:46:54 - 00:19:15:49

Unknown

Also this. But I think the student in the class and so if we that should be on its way. Oh my God. Isn't it. Why didn't she say that that's on reserve. The in Carson is. Oh this is a separate thing that I think the students at some point, but there's a nice video of them making it using a laser cutter.

00:19:15:54 - 00:19:39:51

Unknown

And so if we work with so if I'm remembering the structure of this workshop from last year, it was like we have like three or four stations and that every station they were tasked with translating the poem into a new form of media. Is that the vibe that is than great? And so now we're just trying to figure out what the actual stations are going to be.

00:19:39:55 - 00:20:00:00

Unknown

Okay. I think, yeah, some of the texts are different. It might work, different things different. And the other thing is like Stephanie was really hesitant about it. I think it still can have that. Just I remember that from the consultation and that's fine. If she really doesn't want movement happening, I don't think you can work with that. I think what do you.

00:20:00:00 - 00:20:26:17

Unknown

Because most of us, I think, in terms of what the last time, maybe something about how we were framing things, they did, I think, get the least like translation really good. And I don't think that's inherent to the movement. I think it was just because it was stressful and then they became moving and they're not really thinking about it.

00:20:26:22 - 00:21:05:15

Unknown

I think that's one reason why we want more perception, but it doesn't necessarily is the one. Oh, okay. It's and this this more it's hot off the press I think came in Oh he's a really interesting reader in his own work and he's like, doesn't sound like, you know, it's something already thought about. Like we've read these texts now we've heard this guy.

00:21:05:20 - 00:21:12:00

Unknown

I think that makes a good model.

00:21:12:05 - 00:21:18:51

Unknown

Oh, and this is the translation which we don't get.

00:21:18:55 - 00:21:53:12

Unknown

What does that mean? Homophobic translation. Oh, they're the ones doing. I think it's where you don't know the language you translate based on the sounds. That's cool. It happens. I think it's how we started talking about it. And as a musician, I hear homophobic and I immediately think of something. Tonio Oh, I think of him. Texture, which we call homophobic rhythmic texture, which is where you're playing chords all at once.

00:21:53:16 - 00:22:17:31

Unknown

Wow. Instead of having a polyphonic texture. Right. Yeah. I forget homophones against. Yes. So this would be like based on if you just read them. So yeah, that's how you translate that. I asked about the sound and not about that. Like something that is so wild. So that could be fun with music as not bringing that sort of sonic texture.

00:22:17:31 - 00:22:59:58

Unknown

Yeah. Um, awesome. So this whole thing is called the with feelings on it. But then they're not all structured like the segment is called for Ten Ways of Looking at the Translator. But then there's also a poem called 14 Ways Within the Translator, within the section that's called 14 Ways of Looking at the Translator. One In this last time I was like the translator in the poet on the subway.

00:23:00:03 - 00:23:48:04

Unknown

This is like the pound for minute. And then there's Minecraft, Minecraft, which is not like a reference to cool seem things to read. Do we need to pick what we're using in the stations at some point? Yeah. So. And then also figuring out like, you know, what are the stations, what are they reading, reading, what are they translating into?

00:23:48:09 - 00:24:19:27

Unknown

So in the zone where they're like, they're reading the Benyamin, what are they translating that into? Or we just saying that by reading it aloud, you're translating it into your voice, into a kind of oral medium. I mean, that is what some scholars of vocal studies would say, like if we considered the voice to be an inherent representation of personhood and then you put into your physical body is going through a translation, it could be fun to have a body and then do it.

00:24:19:31 - 00:24:38:00

Unknown

So see how you can like layer with each other being as poem, allow allowed to translate it and then get them the venue and sort of push it a step further of how can theoretical facts be translated into the voice? Yeah, in a weird way. Well, so one at one station could be like an oral station and we'll say at least one world station.

00:24:38:15 - 00:25:00:58

Unknown

Yeah. And this I think this is where the Benyamin thing should be is so that we can also just hear that hovering above the space, because that will kind of just add, you know, meaning to things and like what? And maybe that's also where the 14 ways or something in something that people are reading aloud because they seem to be, you know, echoing each other, referencing each other.

00:25:01:03 - 00:25:23:13

Unknown

Yeah, that seems good. I think we should do so. Well, this is the musicologist coming out. So tell me this is not in the purview of the class, but part of me feels like there could be some framing around the body as a medium for translation, which could help us with if we decide to do a motion or even a musical framing, like the idea of putting something in the body.

00:25:23:18 - 00:25:47:07

Unknown

Your body itself is a vessel like in putting out putting words through your own voice. Like the voice is corporeal, it's you reading is not, you know, this is not something like this. Like we could do something with the way it forms, like, you know, those cheesy things on Etsy. Yes. Have you seen these things where you, like manufactured like you print away from I love you Wave.

00:25:47:20 - 00:26:14:51

Unknown

Yeah, yeah. But what's funny is that these actually have the time aren't real. They just pick a random waveform which I think is so well. But the thing is, we can do it live, we can do waveform. I also have a there's a great website called IO that makes various forms from your audio live ish. We'd have to get the audio clip in.

00:26:14:56 - 00:26:44:10

Unknown

Yeah. So not doable, but doable. Um, so then you have a visual representation of sound so that it feels more thingy? I do think so. And also there's the, you know, the Crow Music Lab, Live spectrograms and things like that. Basically, I think that there's something kind of cool about one thing being the, just the rule driven scientific translation of something into its data representation.

00:26:44:15 - 00:27:13:28

Unknown

Like that's interesting as, like one type of thing to present. And this is the sound of the poem in sarcasm. Yeah. Yeah. Well, what would have to do is what I don't like about the chroma that erases itself, you know? So because it's like, Yeah, but isn't there a way we think according to audacity or something, to preserve the spectrograms so you can go back and see it when they're done speaking the poem and then say, look, this is you're right, because it's more of an order like it.

00:27:13:30 - 00:27:29:49

Unknown

The poem has a beginning, middle and end, unlike, like when we're just here doing things live, it's just more just the present moment we want to see. But if it's a poem, we want to see that it is its own unit. That's cool, really, Because I think more and more there's a conversation about like what is the machine translation?

00:27:29:54 - 00:27:56:04

Unknown

And students last year felt really strongly about that translation because she doesn't speak Mandarin and she's working with somebody does making like an English translation of the translation. And since, you know, a translation has to be 1 to 1 as if there were a perfect machine translator and sort of thinking about, is that possible with words and how is it possible to have something that is the.

00:27:56:09 - 00:28:36:32

Unknown

But I also think it brings up an interesting conversation again, thinking as a sound ish person. Yeah, like the waveform and even the spectrogram, what it fails to capture from the human experience of speaking of using the vocal chords that I think if I'm almost positive of by that but if I can send clip that is going to be like what about this does not capture to hear him do the voices of the parrot like we can have you look at your finished spectrogram of you reading the poem, but it doesn't map to what it felt like to in some of these we could just do for free.

00:28:36:32 - 00:28:57:36

Unknown

Like it doesn't involve them doing something. We can also be like live, you know, German and French translations of what they're doing at the different stations. Just kind of like, like reading up there and just like as a passive thing and they don't have to do it. But then there could be a moment where, you know, Stephanie calls them to think about it in a meaningful way.

00:28:57:36 - 00:29:32:07

Unknown

And I think, again, what we did last time was they had like they started with a clip from Stephanie and the workshop, sorry, needed stations, and then they had that like half hour or something to do their own creative vision. And so if the materials that they were given for that, including not just these materials, but the materials like the translations, French to French, German or the wave forms, I think that station, which could also be where you can bring it to in person, could be really look Yeah.

00:29:32:13 - 00:29:57:36

Unknown

So last year they had when they were making their own translation a lot of magazines and that's been like I do think that yeah we did talk talked on the call about like the materiality of paper and having a zone where they do something like that involving folding or something physical. And I like the idea of a paper zone that could be connected to this.

00:29:57:36 - 00:30:00:00

Unknown

To be honest, if we were nervous about the body things. Yeah.

00:30:00:00 - 00:30:25:36

Unknown

Look what I'm doing here. Like my hands or, you know, bodily. And just I think the system is connected to the body's own more than the normal, more than the paper's own. But I find it easier in my own brain to make that connection. But I think that might just because I'm a vocalist. Yeah. Yeah. Versus what other brains do you make the connections in your own brain?

00:30:25:40 - 00:30:51:45

Unknown

In my brain. How does that work better for you? Yes, honestly, I probably would. I would rather I would love if I was like in Marlon's brain when I. You know what? And it would sometimes I think sometimes I think, All right, um. Um, what I'm thinking is. Yeah, yeah, yeah, yeah, yeah. Cause I'm a little soupy. So.

00:30:51:49 - 00:31:14:44

Unknown

So we need you here. Yes. And I am not a clown, so I can't do two things at once. My current perception of this workshop is first half. We have them going through all these stations, doing all this stuff, learning how to make a way for them, learning how to speak poetry, learning how to fold paper in a creative way, and then second half the rotating through a bunch of quick experiences.

00:31:14:49 - 00:31:32:34

Unknown

Second half, we say, Now you have free time. Pick any one of these mediums we've shown you and translate the poem. How long is that? And I think it's not very well. I thought it was just an hour, so we'll say 30 minutes. 30 minutes? Yeah. What we did last time, I think because I don't even know, did we do I don't think we did.

00:31:32:34 - 00:31:54:30

Unknown

We don't have time to have everyone do something. They did. Yeah. I go there at the end I think it was they shared up here. Um, yeah. And yes, Yeah. At the end they all were like playing with a bunch of materials and coming back and they were using the thumb strap to the reading. Yeah. And then they put it under the shirt about it.

00:31:54:30 - 00:32:18:34

Unknown

Um, you know, there's like the filmstrips on. So this is, I'm going to call this the time to space. I mean, if we want to get printed films on the Oh, but somehow it was 1020 minutes to have me talking about clock, then many stations, then 2030 minutes to work. So it must have been longer. Um, yeah. I don't know.

00:32:18:34 - 00:32:55:35

Unknown

But I think. I think it's still possible to do it this way, especially if I think in the work on your own, they have some of the material that you guys have been making somehow throughout or you can translate version. I'm thinking already about like a thing that we might send back to the class because there's just like part in the you mean we're talking about like translation comes later than the original and that like translation works like this idea of like a continue to afterlife of the thing and it could be like use that as like a way to give them back something that's like evidence of what they do here, like gives them

00:32:55:35 - 00:33:28:20

Unknown

things. It's just that's fun. I like that idea that I guess, but if we wanted them to put together like filmstrips and a waveform or something like that, yeah, that's a thing we could do at a station, unless we want that to be more corporeal. But the way form can't necessarily be corporeal unless it's static. Mm hmm. But what's nice about the if I could ever get it up and read that I.

00:33:28:21 - 00:33:55:41

Unknown

Oh, waveforms is that they're not static. Like maybe we have to like Joe. And I was thinking like what ended up happening is these like emergent things where people would be speaking and then playing music and it was more ended up being this kind of I think what they got out of it is having unusual experiences at the intersections, the stations that they were doing.

00:33:55:46 - 00:34:28:45

Unknown

It just takes time for that to unfold because when you're doing music and you're playing the music over top of what you're hearing, these people are reading like that. That's the full experience, not just doing the music at this time. Yes, it's the same as it was. It's time to 945 to 11. Oh, amazing. I'm wondering. Um.

00:34:28:49 - 00:35:03:48

Unknown

Yeah. So and how many students are there in groups of three? We could do five stations. Two or three or we could do four groups, four groups of three in one form or a meeting of four. Okay, Observe what I have just put together with the so you can just pick stock footage and then stick your soundwave. Yeah.

00:35:04:03 - 00:35:26:15

Unknown

Up there. Change the color or but the soundwave is from a file you uploaded for life. It's from the file. I uploaded the same days, but I don't like it to be with you. But it's a Dutch marina traffic. It's my favorite sound files that I have right now.

00:35:26:20 - 00:35:48:27

Unknown

So what's cool is that this is a video audio, just not my cup of you. I'm still confused about the waveform though. Like, what exactly is it? What do you mean? What is it? Waveform. Waveform is getting the amplitude. The time ran. It is giving or it's giving you some kind of additional frequency bang. This is like what is like, tell me what's happening there.

00:35:48:37 - 00:36:16:03

Unknown

Tell you what's happening because it's amplitude V time. It's like going across this time. If it's staying in the moment, it's scrolling in this direction. What are all these things doing? I think this is just this is also trying to look right. Yes. But I also think it doesn't necessarily matter because we're not trying to get Can I tell you, we're not trying to get distinct data about the actual recording of The Voice unless we are for the purposes.

00:36:16:08 - 00:36:35:27

Unknown

Well, I mean, you just want to do is whatever it is. No, no, no. But like, I guess when it when it's this kind of like amplitude and it's real that lets you talk about this idea of rule based translation of something that's kind of like scientific and data based, observation based as a thing. I'm not saying it's a good thing.

00:36:35:27 - 00:37:00:27

Unknown

I'm saying that's the kind of thing that's the kind of thing you want to teach. But it's not teaching. No, I'm not saying I'm saying we want a bunch of different weird examples for them in the course of like, I think media translation raises both like the most crazy branching translations and also the most like it should be 1 to 1 because so many of the media access to have that sort of like input output.

00:37:00:32 - 00:37:25:43

Unknown

Um, in a way that yes, um, where everything will be subject to the same algorithm. And whereas if you get somebody from what goes through their brain, it's different each time. And so I think thinking about different media and how they typically translate it would be nice to have one that does different kinds of 1 to 1 algorithm.

00:37:25:48 - 00:37:56:03

Unknown

Yeah, that's very. So when we're thinking of it as we're translating the thing into and if one of these things are like their texts mainly, aren't they, and then you're translated into some other thing, one of those types of things is, you know, video or film or one of those sorts of things is music. One of those sorts of things is the voice that can't even video scenes.

00:37:56:07 - 00:38:23:20

Unknown

They Oh, that's right. Where you just look up the term. So it's one, one sort of thing is data. And to me this is what the waveform is. It's not translating into music or audio. It's translating for voice into data. Data. Yeah, yeah. About the Romantics, there's no there's nothing romantic. It's just data. It's a data visualization. But I'm not saying that that's the only thing I'm saying.

00:38:23:20 - 00:39:04:09

Unknown

That's that's one in this one. I'm sure in this particular context. Sure, I can agree. I have a very romantic perception of sound. Yeah, I like I Well, it's because I'm currently writing a chapter about, like, performance relationships and bodies and how performance and sound offer a unique, like space of liberation and freedom and things like that. And so thinking about sounds, scientific data waveform to me is like, Oh no.

00:39:04:13 - 00:39:26:58

Unknown

But it is also that it's true translation. It's like, yes, it's written text and in the materials reality of it, your voice is so different. But then it all comes into data in the same way. That's like sort of challenging, like looking at a spectrogram or anything like that. And then being like, this is happening to this entire person.

00:39:27:03 - 00:39:50:55

Unknown

This is crazy. And it's a really one new, one cool thing we did with Kevin like a few years ago was we had everyone read the same Berryman poem and then we just actually stack their waveforms on top of each other. So you, you can see like, yeah, like their pacing was different and the length was different. And so we got everyone to read exactly the same stanza and some zone that could be a fun product to do.

00:39:51:00 - 00:40:00:00

Unknown

But what so, so can we come back to I'm just rephrasing this, but in using this idea that if translation is pretty literally taking something.

00:40:00:00 - 00:40:30:18

Unknown

Transporting it over into this other thing. Are there things like these feel like the things? Right? There's kind of like video film music, the voice and body. You know, the body gets to be separate. This year, Data space and movement and things like that. And then kind of like a like the book as object paper or the materiality of the medium folding, all that kind of stuff, basically.

00:40:30:23 - 00:40:47:07

Unknown

But feels to me is the more it's more like a staging of the text. Some of these feel to me like, um, like in the world of theater drama, like there's the text and then there's your staging of it that you direct sometimes this, but maybe like sometimes people always say, like every performance is a translation of the text.

00:40:47:07 - 00:41:05:40

Unknown

Since I'm not sorry we get out of jail free card to import the whole world of theater studies in translation. And I think that that's so valid. So now I'm playing. Is this live? Yeah. Well, the thing with this cryptogram is that it's not. It doesn't like to show you colors. Life. I like to show you colors afterwards.

00:41:05:40 - 00:41:31:24

Unknown

Yeah. Which so it'll record blank and then as soon as I stop it and I'm going in the garbage to see what that does. Oh yeah. So it'll populate later. Yeah. It's just not as clear. There's a really good max patch for spectrograms that's much clearer, but I am not that different, Max. Okay, well, we can also. Let's just have some feature requests.

00:41:31:24 - 00:41:53:40

Unknown

We leave this session with Danny logs, and we kind of figure those on. So one of these is as quick as possible going from recording to waveform or spectrogram that can be printed. Another is like knowing the students names so that we could identify who's this, who's, whenever we do any of these weird things we're doing. I just want to like get people to do it sometimes.

00:41:53:47 - 00:42:27:19

Unknown

I remember in the past we sometimes get people to write their names on cards or blank buttons. If you had a blank button and you had to write your name on that and you just had to wear that everywhere the rest of the session, but for sure would make Sophie's life easier if I just got those to. So should video still be that thing you were talking about where we like look upwards?

00:42:27:28 - 00:42:52:06

Unknown

The other point of the poem is a perfect thing for that because it was one of those just like a really noun heavy poem. Is this one noun heavy or noun? I mean, this I'm trying to think of which ones. This is the thing for two different ways. And then there's some that are much more specific that's kind of working together.

00:42:52:06 - 00:43:29:31

Unknown

So reference. But there is like a lot of like this whole spectrum and like, you know, I mean this is way more about like, like sounds and structures basically. And so I don't know that it's like image based, it's like sounds and syntactic structure structures to talk what already is translated. Yeah, I guess we don't Yeah, I don't know.

00:43:29:36 - 00:44:07:30

Unknown

So I mean, we have other kinds. We could use it in the way to work for that or and this is English originally, right? Yes. I mean someone's bilingual but it's written. Look. But I mean this is the original text we're looking at basically any I don't know what this is. I mean, it's not video. But the other thing I noticed in the meeting was like the idea that there's like something in certain texts in the text and that so to be translated.

00:44:07:35 - 00:44:38:57

Unknown

Yeah. And like, I wonder if there's a way to like create a challenge where like they get a problem and they essentially like have to find like a moment to translate ability and then like turn that into something else, like making like, yeah, like why you would want to transform this into something and then tweak. Are there German speakers in the class and do we have the original question?

00:44:39:01 - 00:45:56:55

Unknown

I don't, I don't have access to that. Oh yeah, I think I have access to this, but not so. I mean, I can ask like the languages, are you guys very good? Like, do you have good accent with German accents? Yea, let's just pretend this. Oh, that's really okay. There was an app that I learned about in that electronic music class that like does two grams of in real time.

00:45:57:00 - 00:46:19:59

Unknown

She was not psyched about getting so sad and like on me because I do have a good thing to do with it. I think she could. I think what she's scared of partially is the implications and that she won't be able to handle the rest of the course, but it's just not. I think she's super comfortable.

00:46:20:04 - 00:46:42:07

Unknown

Yeah. Yeah, she did say like she would consider it, but I feel like she didn't seem like. Yeah. So what I would say is where she is already giving them English. Right? And so she's already said I give up on the, the original as the source of, of truth here basically. Then what would be wrong about doing what I'm doing in our channel right now.

00:46:42:12 - 00:47:14:48

Unknown

This is phrasing. Oh my God. But it ain't necessarily trying to grab our attention these days because here's something for readers. Here's who do you think got it cool at Let me break it down for you, buddy. Like if there was a station where, like, they each remixed it with a different tone and then they read the alongside the this translation, someone reads the German, someone reads the authorized translation.

00:47:14:52 - 00:47:35:17

Unknown

So it reads the craziest churchy beat that you train. That's honestly I think that's very well, here's the thing. I think they'd come out of that knowing Benyamin better than just reading this translation. I swear to God, it's like, explain paper that lets you like, read it as if you're in middle school and then you can like up the level.

00:47:35:22 - 00:48:06:07

Unknown

You can do that. What do you mean? I can't? We should ask Christina. So what? Because the music people are doing this too. And so there's something that's like, really like, you know, dirge like melancholy, you know? Samuel Barber, Adagio for Strings, As the German reads, it's kind of like, you know, this this American Life sort of just like, kind of, you know, almost not their music in the background of the standard translation.

00:48:06:12 - 00:48:28:23

Unknown

And then under this is, you know, this like welcome to New Yorker. Like, you know, whatever I think we should find like a funky logic. You know, I have the exact person for this. I have the exact music for Run It by Stephanie. I think she would feel scared about the implications of revealing how much machine translation can do to translate at the end of the course.

00:48:28:28 - 00:49:03:57

Unknown

I think I'm sure you're right. Well, look at some translations. It can do. Isn't that the whole project? Okay, I'm sure you're right. I'm sure you're right. So I don't know. Definitely in the spring, when I was. Yeah. And then I could just, you know, charge that back to where you want it. Now it's like somebody. So how about this?

00:49:03:57 - 00:49:22:17

Unknown

I'll run a special station for Stephanie alone, where it's more like a faculty consultation of the sort we're doing all the time. Like with run on people that you know, where we want them just to kind of like, have a taste of what this can do in a safe space with the guide. That would be a cool video, actually.

00:49:22:17 - 00:49:58:30

Unknown

It's like you sitting with a faculty member here and like showing them the thing that I can do and like getting their some reaction videos. Faculty react. It's not like that. That's actually a ticked off. Our faculty react to teaching, says So we have a lot of have we picked but I think we're getting getting there let's I think we should do the one that's like literally the 14 ways basically because it's don't you say it's not necessarily the best call.

00:49:58:42 - 00:50:00:00

Unknown

It's just so on the nose.

00:50:00:00 - 00:50:25:37

Unknown

Which ones are people translating a one way. And it's really the different kinds of interesting challenges. But are they doing this? Yeah. Okay. Because if you imagine like this is one. Like, if you think about the enemy, right, it's one to translate a different ways. And then those different ways would translate into different music. But would both of those music correspond to the original song?

00:50:25:51 - 00:50:59:49

Unknown

I don't know. I think that's a really fun way of thinking about the world and all that. Um, I'm not here, but also, like, cool as a model for the end product. For us, it's like if everyone here translates one thing and all these different things. What document? Like this. Like a multimedia document like this. Might we assemble that kind of like shows with all the students did during the workshop, but they could also work with this original form.

00:50:59:49 - 00:51:28:55

Unknown

But like you're saying, like which version of it is the Yeah, I think maybe if we had done it in the whole workshop to have one of them translate one version of camera one other into the camera. Are these both translations of the original? What if this station is the paper for the station? And what they're trying to do is here's a book that's trying to show us 19 different ways of translating this.

00:51:29:00 - 00:51:51:28

Unknown

What we would you remix. The book is medium through paper folding and all sorts of crazy shit. To more clearly show the message of this because I think we could be right in saying that maybe the book isn't the perfect form for revealing what this project is all about. So that could be Our zone is like this, doing some of the crazy folding type stuff with it and or whatever.

00:51:51:34 - 00:52:14:10

Unknown

We have someone on staff who is good at talking paper. On how hard is it you seen some of the things like how do you. I have not. I am as someone who was actively bad involving paper. I think it's tricky. I can do one piece of origami and that is a frog. And I learned that at summer camp in like 10th grade.

00:52:14:15 - 00:52:42:42

Unknown

Would you ever wish you were so good at the paper? Well, I'll get out of our books. We have a lot of good paper folding books, but if we did a little to do out the Art of Read or what paper they wish, but all around those things up there, like a lot of the accordion type things are good for this, I think, because it's long talk.

00:52:42:46 - 00:53:08:30

Unknown

Sure. That's great. So paper folding. So paper folding for 19 ways and then reading aloud for a combo of Benyamin and the 14 ways that's reasonable. And then music is accompanying whatever weird, loud things you're hearing, Right? So that's. That's paper and that's voice and that's music. Yes. So voice will be happening in small studio or on stage.

00:53:08:34 - 00:53:27:49

Unknown

I was thinking voices happening in small studio over P.A., just kind of like emanating, but it could go either way. Thank. What do you want to do? Stay on stage. If we were. If you want us to do the music thing again with the piano. Is that still? Oh, yeah. I think that that's a way of taking advantage of your expertise.

00:53:27:54 - 00:53:48:07

Unknown

That is totally fine with me. I think it is easier to have the readers physically closer to the piano. Okay. Just because I think it helps the pianist, it's like, you know, when you have musicians jamming together, you wouldn't. It's easier to have them all in the studio instead of having them in separate booths unless you're really trying.

00:53:48:07 - 00:54:07:28

Unknown

But yeah, I just think people are more comfy reading sitting down into a pod like, like I could still be out here, though. Yeah, yeah, sure. They could sit down next to the piano. They don't have to be on stage. I just think it was hard last year having them in the small studio and like, knowing kind of when to start the music and when to not, because they were kind of on camera.

00:54:07:28 - 00:54:32:06

Unknown

And so it kind of felt like you were accompanying like a YouTube video of something or is it just translate like, are they translating people in there then cutting them or they translating text? Because I think that changes. It also changes a couple of it's definitely they should be in the same place. Yeah, I think it's they're doing the translation and accidentally ends up becoming accompaniment and get everyone gets excited about it too much into like okay now you start at the same time.

00:54:32:07 - 00:54:53:52

Unknown

Yeah but I think, I think it'll happen more organically if they're in the same spot. It's just inevitable that humans want to be in a band. It is kind of inevitable. But I also think then we will inevitably merge, will also, I think, inevitably fall into the urge if you are at the piano to be accompanist. Yeah. So I think it's, I think but if we put those two stations side by side, more cool stuff will happen basically.

00:54:54:03 - 00:55:16:03

Unknown

So I think they have to be looking at each other. We need to make sure that whoever's on camera reading looks cool and has a good background behind them. And then so yeah, two stations, essentially the pianist is facing the reader, but we don't kind of like see, you have to wait for the other to start. Then you can also even frame it as more of like a collaboration in terms of your giving, your musical interpretation of the piece.

00:55:16:17 - 00:55:30:27

Unknown

You're giving their oral interpretation of the piece. Maybe something will happen where they come to as a jazz and probably conversation, like maybe something will happen. Cool. Like when we have a good moment between you do, Maybe you won't. Maybe this improvization will suck and that's fine. That's why you try it out. Yeah. Okay, so that's two stations.

00:55:30:27 - 00:55:51:54

Unknown

That's music and voice and body. And then I think somewhere over here should probably be happening like paper under the overhead camera. And that leaves us with data, video space movement. We don't need all these things. Data can be the passive thing. We just show them at the end to like we just record them and to the other you're waveforms.

00:55:51:59 - 00:56:25:10

Unknown

I almost feel like four stations is the right number for the size of a group, like four groups of people for stations. So what you guys think of what should be this last station if this is kind of going to be working with this book, remixing it with paper or materiality, we could also accent the fact that there's something spatial and material about that, or there could be a whole separate thing that's about their space, like about their hand performance, about them on stage, suddenly starting with the clock, are we going, Oh, there's a space, we're going to print things.

00:56:25:10 - 00:56:45:45

Unknown

Yeah, but to do something more explicitly challenge them for a station to be about time and time and space, what would it look like to do with the filmstrip of these different and that? And the waveform printing could happen there too, if we could make it work like we'll work on the technical side of it, but that would be like a cool way of having it be combined with those other stations because we think handing them print outs of their colleagues.

00:56:45:46 - 00:57:11:07

Unknown

I'm also wondering if you think about time as like a form of translation. My mind goes to like on tick tock when you can slow things down or speed things up. Oh Stephanie, Kate that I listen to all podcasts all three times, right? But if the idea is like how does breaking your brain change? If I speed it up or if I slow down my voice to like, wow.

00:57:11:12 - 00:57:31:16

Unknown

Mm. It's not in time, even though it's like, well, so this sounds amazing as a theme, what literally happens at time Space. So I think we have to make tiktoks of the poem and then, and then music and then we'll move it. They can change. The time is is what we make them look at the strips of the clock.

00:57:31:21 - 00:57:55:07

Unknown

And from that, I mean are they doing the clock this time or just give us another one. I thought she said they were giving us another video. I drive my car, we give them a car and they drive it. Yes. For some reason I thought she started our consultations. And you starting with Mark right now, I think she's still doing it.

00:57:55:08 - 00:58:23:54

Unknown

But I think that like the film she asked us to print up, I think was to drive my car. On the drive, my car was like, it's saying that the film contains like the play within the film. And that was like the thing that's so I don't know if there's like a way to tie that. Do do it when you're doing the car playing.

00:58:23:54 - 00:58:39:52

Unknown

And so I think she does come in and I wrote down for some reason for jump starting with Mark sounds like a Stephanie for him. So I think it must be what watching because you asked me if you did that again, What you did last time was you showed them a little bit and that's the clock and that was a filmstrip.

00:58:39:57 - 00:59:02:13

Unknown

And it's not the film works like in real time, 24 hours. Just watch a bunch of different scenes. It just seems you may use some aspects of this excerpt from the clock in our work in the morning. Okay. Okay. So this is I think these can be pushed in. It's just brought to be like they all push in really different directions and it doesn't feel like duplicative somehow, basically.

00:59:02:13 - 00:59:28:10

Unknown

And so I think the music is pushing in the direction of the non textual like sound feeling. The voice is kind of taking from text and turning that into into voice and sound. It gets us to the corporeal. I think that the well, but I think paper, the paper zone is also about materiality like I think it's about the book is artifact isn't merely I think it's materiality.

00:59:28:13 - 00:59:47:00

Unknown

I think the voice is about the body and like God. So you want to I think those are different things, you know, and I perceive I think humanizes things as much as men's. Yeah. And then time and space is going to be about waveforms. Printed films like those will be the things that we kind of like have materialized there.

00:59:47:06 - 01:00:00:00

Unknown

How does that illustrate time and space? Well, so the printed films like that's taking something temporal and turning it into something spatial. And so if you think because it's like if we have the. Sure. So if you're used to seeing it and.

01:00:00:00 - 01:00:18:17

Unknown

And then you print it out, and now there's no other space. Yeah, you know, I relate to it in terms of time, but it's about like how it's on the page and that helps. You also recognize the films themselves. When the film is a translation of a text, that it is the temporal izing of something that is material and historical.

01:00:18:18 - 01:00:43:35

Unknown

What trans historical? How does this connect to the text from the last film that we're putting in this? And so I am getting it now. I'm getting it. And then the other thing about it is that we can ask them with the things that they're giving us, whether that's the way for them to then translate back from the special world into some form of text or translate from text into something like that.

01:00:43:35 - 01:01:18:05

Unknown

If we if we give you this poem, look, maybe these two different poems with, with their, with their strips with different and how would you make those by hand. I love that. That helps me conceptualize this station a lot better. Thank you. It's cool. So we'll have to print out the waveforms in real time waveforms for the films and then they're wherever we're there, you know, if we make sure to get at least one take really clean in the part we want to get this clean to separately, because then we didn't get that last time.

01:01:18:05 - 01:01:37:21

Unknown

I kind of like through resume there at the very end, but um, because just predictably cool things will happen. But we just want to get people reading poetry and playing music and if we want, if we want the voice to be captured cleanly, I think we're going to need if we're going to have the space pod mikes, but also ones without the music so that we get no background.

01:01:37:26 - 01:01:58:28

Unknown

Yeah, no tinkering in the waveform. Well, so that's why someone was getting it to happen in the small studio and someone else gets less and less and less. And I still think I still think if the goal is to do this music voice collab, it's better in the space. Yeah, but I think if you want the way for them to be clean, which is awesome.

01:01:58:33 - 01:02:15:32

Unknown

Yeah, I mean I think it's as close as we can get it, but I mean, I think it's a tradeoff basically, because I don't like it, because I always agree with you. I don't like it when it's like, All right, everyone, you know, cut five, six, seven, eight. Yeah. Like, I'm like, that has to be timed and, like, slated and everything.

01:02:15:32 - 01:02:37:58

Unknown

We want to kind of just be a teensy bit organic, but I think it's harder for it to feel organic for the students when they're like watching it on screen because they're inevitably like trying to really time it the right way. And I think it will feel more organic out here if everyone's together, because then it's that type of thing where like, you know, what are the music people doing while they just sit around waiting for that person to read?

01:02:38:13 - 01:02:54:37

Unknown

They're not, they're playing. Yeah, right. The how am I getting that sort of story? You want the clean, the clean recording that right. Yeah. If they're Well I don't need a clean record. I'm saying if you want a clean waveform, you need a clean recording. So do we want a clean wave or not? Like, it's okay. Like, the background levels are going to be pretty darn low.

01:02:54:37 - 01:03:25:44

Unknown

So I think it's not it's not a concern. Like the whole place is going to be noisy. It's it's fine. I think that the noise filter will be higher than you want it to be. But like, if the recording in the front, like, it'll still represent what they're doing. That's true. And also if we did in the initial, like teaching space about each of these stations, you know, if you gave me a second to talk about what waveforms are going to look like or like what the spectrogram will show you, I can talk about how you're going to be able to pick out your voice in the frequency.

01:03:25:58 - 01:03:59:04

Unknown

Yeah. When you're looking at if we're if we're going well, let's so to do again is let's find the coolest live waveform. Yeah. And I think we should do spectrograms and waveforms like just try it out but like I think that that logic has like a live waveform. It does, but it looks like this with no the spectrogram but waveforms waveform like they're apps that have better live waveforms yeah so it doesn't look as good as well we got to get the levels to be we might want the levels to be wrong so the waveform looks better.

01:03:59:09 - 01:04:17:26

Unknown

We want to like boost like out of it so that it gets a little bit, you know, why that's fair to get that also. But I could snip the strip like if you if this is keyed right underneath you while you're standing on stage. If I snip it to there, then then it will look bigger to people, it will look bigger.

01:04:17:31 - 01:04:52:26

Unknown

I don't like this. I don't like the red and pink spectrum. Yeah, I think it's hard to distinguish. Danny, can you add some feature requests? Like we want live waveform, spectrograms and then we want scripts for getting printouts of waveforms and spectral spectrograms from the performances of students. There is is anyone here good at Max? Because when we had our microphone test workshops, one of the best things we did is we had John Packs run his Max patch for spectrograms and we had all of the kids test out the different microphones and it was really big.

01:04:52:26 - 01:05:13:08

Unknown

It was in black and white and it was very and you get to style it. Yeah. Okay, let's just I've done so Max patch for Spectral. It just, it looks really good. Yeah that's cool. Ableton just so All right I think we're we got we should talk about the other one just a teensy bit. I think we're in a good spot for this.

01:05:13:08 - 01:05:42:05

Unknown

These are the four stations and so we will lead them through that. And I think that can take the bulk of it because these feel very rich and awesome and then we give them time to work themselves on a translation of what what supplements you asked, you know, if I yeah, I think one thing could be what we did last time was we could just do different things.

01:05:42:18 - 01:06:20:11

Unknown

Um, and I guess we can do that again because one of the types that we can also have a good are that they haven't worked right here. It depends on we're trying to make something with it after the fact, in which case it's cool if it's all the same thing on it. Still give them freedom. Should there be like a meta like slightly more boring but like rationally sort of part of it where they translate a small segment and then they kind of articulate why they translated into the medium, they translated into overhead.

01:06:20:11 - 01:06:55:49

Unknown

And I guess that works well. Yeah, you're more explicit about asking them to not to see what they did. What did you do then? Yeah, okay, that sounds good. So we have to be allowed in that. That's. Yeah, I think it's both time and space is time. Space is printed film printed wave forms, thinking generally about film to text, text to film and really like the space time aspects of that.

01:06:56:04 - 01:07:20:42

Unknown

And then paper, they're working with the one way and they're looking at in person, but they're not translating. It's kind of like a model. Yeah, but their task is to think about what paper translation is for translation, and I think that that's new. This person is really excited about it and stuff. He's excited about it, but the only thing it is because it's just like crazy.

01:07:20:47 - 01:07:49:33

Unknown

Like, what would we choose when you read it? Yeah, I think it's a read. It was version stuff. Oh, interesting. In Carson's version of, um, so now I will say that like, is it just boring going with the one they read aloud? No, I don't think so. Because what's good about that is, like, when it comes to whatever we send back, it can be crazy.

01:07:49:35 - 01:08:14:54

Unknown

Read because we have like multiple instances of that. And so because if we set it up and say, Hey, we're going to work collectively today on like thinking of ways of translating this into other media. And then what I would say is that the Benjamin and this are functioning like they're not the text. We're translating their ways in which we are like augmenting our sense of what translation is basically like that.

01:08:14:58 - 01:08:32:50

Unknown

And I think I still want to somehow, if possible, challenge them to go from that to filmstrip as well, or that from this to time to filmstrip on the basis. Well, they could do that themselves because I imagine a student could say, Oh, I'm going to cut up every word and put them in a string or something is also a serving.

01:08:32:51 - 01:08:59:34

Unknown

Is that you mean where it's like a model, like we've gone from film to strip and then in that speech and that's the bit. Yeah, there are a lot of things that are giving them kind of applicable general concepts or methodologies that they can deploy as they translate this. And then but then there's one station where they are literally reading this aloud so that we have that on tape essentially is a 14 ways of looking at a track, whether that's cool or how many students there are now.

01:08:59:35 - 01:09:18:21

Unknown

So 13. Yeah. And then I think that we could also, if we wanted to ask a couple of people to read this in there, it looks like anyone's got spare time so that we get really clean readings of it. Right? Okay. Boom, This one's all done. Amazing.

01:09:18:25 - 01:09:52:53

Unknown

I well, this is all recorded. And I can ask my friend Elle, who's, you know, now that I have her, I don't need anyone else. Oh, my God. To stop naming technological tools after women, huh? Oh, you're welcome to make just. I did not send you the tutorial. You did? Why don't you make it? What? Carl? Yeah, That Rosie The Simpsons episode or whoever has the the Well, so why don't we make a bot?

01:09:52:55 - 01:10:00:00

Unknown

Let's make lots of bots and you give them all really manly male nonbinary names and we can.

01:10:00:00 - 01:10:23:40

Unknown

Also look at the spectrogram I just found. Sorry, everyone wants your hand. That's cool. That's awesome. Did your hand go? I love it. Do you wanna get in here? Oh, as long as I thought we could do it together, though.

01:10:23:45 - 01:10:37:46

Unknown

That's cool. Do you send this to the channel? I think we should use the spectrogram in general, because I don't like the Google crumbs I've wanted by. I've been too afraid to tell you until I found something better. Well, but this is not a spectrogram. Now it's a spectrum. But that wasn't live. Well, it is. It can be live.

01:10:37:51 - 01:10:58:39

Unknown

Can it be? Yes, it's both. I was just excited about this hand thing. But what I like about the spectrogram is it actually gives you frequency lines like Hertz lines. Yeah, that's cool. Can you sing? I feel like it's not as responsive. I feel like it's. It's. It is. Sampling is responsive. Look at this. It's not as smoothed out as the chroma.

01:10:58:44 - 01:11:20:10

Unknown

And it's not. And you're saying you're arguing that speak and smoothing is not necessarily what makes it look good. This is like very if you want the scientific data ness of it. Yeah, exactly. The breakdown of the hertz. Yeah. That you're. And that's so interesting. Why is that. That's these other things that just land logarithmic like between 20,080.

01:11:20:15 - 01:11:47:29

Unknown

It's just so weird you can change it. That's like right now what is what is 373. So you know what 317 is, Is that like a note that I know. Yeah. That's C major. That's like middle. So you know it's right in between D which is crazy. But then you can also see now I'm forgetting how I've done it one day I like, but you can also change those numbers.

01:11:47:29 - 01:12:09:57

Unknown

So yeah, different measurements outside. That was really high. I looked at a I can't even hear like it's up to the the but related to high frequency things. Have you ever looked at what octave or sorry what note colors are you mean for people with perfect pitch. No, not not and not a synesthesia kind of thing. I'm warming.

01:12:09:57 - 01:12:30:52

Unknown

I'm warming the like. Literally every time you go up an octave, you are multiplying the the note by two. Right? You can go all the way up to the, you know, the wavelength, the frequencies of visible light. And you can figure out like what note green is. Oh, I, you know, like 32 octaves above what you can hear.

01:12:30:57 - 01:13:03:33

Unknown

Interesting. That's, that's the thing I well, I guess also for, like, microwaves and you doesn't want to do anything, so. Oh, right. Okay. All right. So can we talk for just 2 minutes? I guess. 3 minutes we have left. Right. You have left for we get kicked out. 18 minutes.