Reflective summary of the MA RPT journey
THE MA JOURNEY
The MA process has enabled me to effectively animate with mixed media and an approach, which engages creativity underpinned with research. I began the Programme unable to animate, I am now proficient in this medium.

CHOOSING PEOPLE/VOICES
Originally, I chose to animate and explore the intonation of spoken language through typography with a particular emphasis on the East Midlands accent. The MA journey has broadened my outlook,and instead, I have looked at the intonation of the individual, regardless of linguistic and geographical location. My aim is to represent language as it really is: imperfect, fluid, frequently clumsy and stuttering, often beautiful and poetic, sometimes brutal, but inherently human.

“ …we can nearly always learn more about the material, social, cultural, and historical contexts in which the words were uttered or written.” Gee (p. 54)

Four speakers were carefully selected for their different tonal ranges within spoken language.

The main speaker was chosen for his quirky characteristics and for being old fashioned, dour and for displaying a slightly pessimistic personality. He is an active part of the local neighbourhood watch in a small rural local community. The other speakers were selected as contrasting personalities, I chose a female family friend who is enthusiastic, well read and always positive in her views. The other speakers include a male adult who is football and family oriented, and two school children age 5 and 9.

The speakers have varying accents, contrasting ages (from 5 to 68 years) and backgrounds, it was also important to select unisex participants with different views of the world, because this would provide variation in the data and allow me to explore more visual methods to express these differences. All the speakers live within a 5-mile radius of each other in small rural villages. I recorded audio data of each speaker from 15 minutes to one hour (the length of time recorded was dependent on their age and sustainability of interest).

INTERVIEWER/INTERVIEWEE
A key finding has been the importance of repetition and mirroring within spoken language. I am aware that, at times, I did not remain impartial about the contents of the discourse, when interviewing the speakers. I have recognised that the personal interaction and intertwined dialogue is inseparable, there is a subtle dance between interviewer and interviewee, one cannot exist without the other.

In Scollon’s text based on repetition he believes the following;
“As musicians use the term, ensemble refers to the coming together of the performers in a way that either makes or breaks a performance. It is not just the being together, but the doing together.” Tannen, (p.19)

THE INTERVIEW
Before setting up the recording equipment, I asked verbal permission to record the data and explained that the information would be visualized into an animation as part of my MA studies. All participants were fully briefed and agreed to take part. I obtained written permission after showing the final animation to the main speaker
(Ken) to ensure clarity and transparency of processes. The questions I asked were adapted for each age group, for example, I knew that interviewing the 5 year old child for over 30 minutes would not be practical or sustainable. For the older participants, the interviews lasted longer and I asked more difficult, personal questions to provoke different tonal voice patterns. For example I asked: “What is your happiest memory?” and “What is your greatest regret?”

Lighter questions were introduced early on to break the tension and start the interview process,“If you were blindfolded, and about to be shot, what would your last request be?”

For the children I asked more positive questions, what they would do if:
they were in charge of the UK, they were Kings of England, they could invent anything,
what was their idea of a perfect day, and: who was their hero, what are their favourite things about the English seaside? I did not want to replicate a formal interview set up in a clinical cold environment, my intention was to get a ‘real response’ from the speaker in their own homes and in familiar surroundings. After listening and analyzing their voice patterns over a period of months I have recognized that each pause, click of the tongue, rise and fall in pitch, laughter within the word, is incredibly subtle and atomically precise to that person, it is akin to the individuality of our fingerprints or DNA.

LANGUAGE
In my original proposal, my aim was to look at language research as a tertiary activity, I have however, found this field of study fascinating and, I recognize this will sustain further research for my future practice. I have been particularly engaged with the cross over between visual and practical methods of representing the intonation of spoken language. As part of the MA Exposition I created a visual research poster to express some of the methods and terms representing the intonation of language using typography, linguistics and visual poetry.

It has been interesting to note that half of the methods were ineffective within my animation ‘Ken series 6’. (Terms of these methods are available in section 2.) The subtle, complex methods, such as transcription convention, levels method and even the stress dot method were too difficult to ‘read’ and connect with due to the movement and speed of the animation. These methods require effort to decipher, a user’s key, and more time to reflect. More effective methods within the animation include: Bolinger’s ‘crazy letter’. This is a very simple but visual representation of speech using space, layout and scale. The method works because of its visual immediacy, it does not need translating, in this sense it is similar to a pictogram. Concrete poetry has also been a successful visual and effective communication of meaning and engagement with the viewer. It does not represent intonation, but enhances the content.

“greater density can be achieved by presenting part of the information acoustically and part of it (possibly complementary or reinforcing information) visually, bringing us closer to modelling the online workings of face-to-face conversations.” Jannedy, S., Mendoza-Denton, N., (2006)


LINGUISTIC DEPARTMENTS/OVERSEAS STUDENTS
Early on in the MA I interviewed Professor of linguistics Antoinette Renouf at the University Central England. It was too early on in the MA journey to discuss the project at this stage, more background research was necessary on my part, before our meeting. The encounter highlighted the wealth of material available within linguistics also the technological advances in this field. For example new, current words were being analysed in a diagrammatic and scientific way, older words were being monitored as they became ‘extinct’ from our vocabulary. The meeting acted as a catalyst to focus on one area of language and to be more selective about research in linguistics.

“Discourses have no boundaries because people are always, in history, creating new Discourses, changing old ones, and contesting and pushing the boundaries of Discourses.” Gee (p.21)

As part of my professional practice as a lecturer, I discussed the animation outcomes with ESOL department (English Speakers of Other Languages) within the University of Derby. This meeting provided a turning point in my research and enabled me to gain a sharp focus within linguistics. Pronunciation of syllables was highlighted to be a reoccurring area of weakness in students from overseas, so much so, that the tutors would regularly say a word and simultaneously clap or tap the syllables out to aid the delivery of the word. Word stress dots were used to visually aid the students to learn this aspect of language. Large dots are placed over the syllables requiring a major stress in pronunciation and smaller dots are placed over less important syllables.

I applied this research into an animation entitled ‘Delyse sequence’ and tested the findings with an overseas student and the lecturers at ESOL. Instead of relying solely on the stress dots, I had also altered the scale of the letters to match the syllable stresses. As a result of this the audience felt that the stress dots were surplus to requirement and actually hindered your comprehension of the animation.
Reflecting on these findings encouraged me to seek new ways of visually exploring pronunciation methods.


METHODS OF EXPLORATION
Initial methods of exploration began with experiments in mixed media such as ink, weaving paper, leaves, oil pastel, chalk, acetate letters suspended in water as stop frame movies. These experiments were created as tests, to evaluate which materials were suitable to animate. The tests also represent different aspects of language, such as pausing or shouting. This phase of work served as a useful resource and palette of materials, which were adopted into test animations. This phase was influenced by the work of Jonathan Barnbrook and his animated work for Radio Scotland, particularly ‘Foggie Bummer’. I reflected on the use of hand lettering, the speakers and how they are visually different, pace and mixed media within Barnbrook’s work. This work has remained a constant influence and reference point throughout the MA journey.
For each animation a storyboard was prepared using a paintbrush and ink, the result was loose, organic and variable. This way of working altered dramatically in the latter part of the MA.

During the second phase of exploring methods I decided to work in a less organic way and to embrace a strong digital bias within my animation. This enhanced my precision and practice as an animator. A test animation (Beatles/John Lennon) was recreated using digital animation and the selection of typefaces relevant to the era of the speech.

The most recent methods of exploration have been evolved from a combination of the first two phases. The visual language I have developed is a hybrid of stop frame and digital animation; this also follows into the previously mentioned visual research poster, which expresses ‘raw voice’ qualities using letterpress and the precision of linguistic terminology using digital typographic references. This hybrid method of visual language is a successful cohesion of intuitive design and research coming together and links well within the context of language, which interlinks socio-cultural aspects.


“It is important, as well, to note that very often social languages are not “pure”, but, rather, people mix (“hybridize”) them in complex ways for specific purposes.” Gee (p.87)

Subsequent storyboards in this third phase signify a shift towards a more confident professional and direct visual language. The sequential images have a visual style that is resolved, the tonal voice qualities show clear distinction, the anonymity of the narrator remains a constant aspect throughout and the work shows a variety of intonation methods such as transcription convention, crazy letter and musical note properties. A countdown sequence is included to aid the context of the speech and lead the audience into the animation with humour and subtle steering. The storyboards are pre-production examples with explicit keys and directions based on the learning and reflection culminated over MA journey.


NEW VISUAL METHODS TO RECORD INTONATION
Reflecting on previous animations it was my intention to highlight key words in a more dramatic and obvious way. In the ‘Ken series 6’ animation the emergence of a new method I have called ‘Textura-Kinetica’ was born from the experimentation of ink, rollers and paper and visually representing tonal voice qualities. How can a creaky, old smoker’s vocal chords be visualized? The surprising answer of this person’s last request on earth, being a cup of tea, led me to represent a large scale letter T using intaglio ink and the width of a roller. The result is simple but effective. Each indentation in the paper or fleck where the ink did not hold serves as a metaphor of the speaker’s broken tonal qualities. I expose the viewer to the process of ‘making’, my hands are in shot and the roller is in view, this expresses the imperfection of the spoken word.

AUDIO
The area of audio during my initial planning of the project was overlooked and seemed less important than the visual data. My views changed dramatically after a visit to Berlin in 2008. The original reason for visiting Berlin was to observing the digital arts festival ‘Transmediale’, however, a Stan Douglas installation at the Berlin Guggenheim gallery entitled ‘Noot*ka’ introduced the notion of audio overlay into my practice. Experiencing this artwork gave me the ‘permission’ and confidence to bring additional audio in to the animation to enhance meaning. I duplicated tracks, to edited and manipulated audio files just as I would with visual digital files. As a result of reflecting on this; birdsong, tea related audio and doors being knocked are helpful additions to the ‘Ken Series 6’ animation.

PARALLELS BETWEEN TYPOGRAPHY AND SPOKEN LANGUAGE
Typography represents written and spoken word, therefore the choice of typeface can be used to enhance the attitude or content of the speaker, or conceal it. Within my animations I have deliberately used a neutral digital typeface, in this case, ‘Verdana’ to represent the narrator and have used a subtle way to express intonation, so that the viewer’s attention is taken away from the narrator and focuses mainly on the speaker. This deliberate detachment and hierarchy of information is mirrored in the split screen of the animation. I have effectively ‘removed’ the narrator out of the arena.

Letterpress fonts were apposite in communicating age, weathered nature, survival, and authenticity, there is no pretense or a social ‘front’ portrayed to hide the speaker’s attitude. Reflecting on the choice of typefaces I have used before, I am now embracing a more hands and crafted way of expressing letterforms due to my findings of the array of subtlety within individual voice patterns. Using digital typography does not express this enough. I am of the opinion that digital text will only effectively express digital voice patterns and even then, this would need further enhancement with transcription convention or creating deliberate spaces or marks between syllables.

FUTURE RESEARCH
The MA journey broadened my ideas of communicating visually and has enabled me to embrace a natural curiosity into further exploration, particularly into linguistics and the wealth of material that is not currently disseminated into the public arena. My future aim is to approach linguistic departments to visualize the subtlety of linguistics and disseminate these finding further afield to reveal more about linguistic patterns, human behaviour and attitude. My ambition is to create range of notations that work visually as well as linguistically. These notations or marks will be able to serve not only linguistic specialists but also engage and be accessible for the public. For example with an upwards arrow next to the dialogue/text one might assume that the language pitch is high, another way of notating this is using the levels method (of a numeral) but this is not accessible or visually inclusive because it requires a key or translation. I would like to investigate more effective ways of communicating this data. How does the description of intonation of spoken language translate from moving to static image, can there be one system for all, or will two versions always be required for the different formats? The MA has been a catalyst for a hybrid visual language in my work, but the more exciting outcome has been a resurgence of enquiry and thirst for more knowledge and research into language, linguistics typography and humanity.

Reflective writing 26.6.09
Ken Series 6 Final has been completed today. Final amends include the deletion
of the timestamp, which seemed intrusive and not relevant to the context of the project. Another change has been to lower the word ‘wisdom’ into shot and to emphasise Ken’s uncertainty of the question and the word.

Based on tutor feedback, the black banner at the base of the animation successfully holds the narrator’s text, represents a separated physicality between the two speakers and aids legibility of the transcription convention. I have also reduced the visual ‘glare’ and starkness of white out text for the narrator’s questions. The white text is replaced with a cream hue, which is more in keeping with the character of the work and less obtrusive to the viewer, it is very subtle but an improvement.

Football storyboard
Analysing audio
In terms of analysing the audio I have recognised an important fact that I have learned by listening to the audio tracks over the last 18 months. The first, second and third transcriptions of the audio are rough and will need to be amended. I will have missed a few subtleties. I have also found it incredible useful to render the sound into a QuicktTime movie file, it allows me to see the duration and easily navigate through the files to listen and re-listen. The football audio follows:

Interviewer: “Why is football important to you and to the British public?”

Andrew: (TSK)= click
“Football is important to me, I’ve always, I’ve played football all my life. I’ve always been involved in football, my Dad was involved in football and my brothers play football and it gives you a bit of, for me, it gives you a bit of togetherness, you are sort of a part of a group of people and you socialise with them and I think it’s the same with people watching football, especially the England team. It sort of brings everyone together to watch one, one team playing, I think it’s important to them for that reason.” Duration 0.34seconds
I have shot the countdown sequence for this and have three routes to pursue:

Route 1
The speaker discusses football as being very important to his family, I am considering a route which explores the notion of tactics of the game merging into a family tree. This would suit the linguistic classification of the linear method for the speaker’s intonation. The speaker mentions himself, his father and brothers (his sons are also involved in football, so it is a cyclical pattern). The graphic qualities of this route appeal to me however, knowing the speaker, it is not representative of his personality or frame of reference.

Route 2
The second route could be a more emotive response using images of unborn child and the importance of football (almost running in the veins) and how this is a cyclical process. The text can be on hospital monitors or within a medical context. This route seems incongruous with the personality of the speaker but could prove to be powerful for the viewer.

Route 3
The third route would explore the ‘flatness of tone’. Using photography of the pitch at ‘grass roots’ level, and unusual typographic angles. The audio waveline in connection with the grassy pitch could be a simple but powerful visual backdrop for the speech. The viewer could navigate throughout the pitch using different movements and angles, a reflection of the ‘beautiful game’ and the voice pattern.
In terms of representing the personality of the speaker, this route seems the most viable. The floor level photography give the audience the impression that nothing else exists, we are temporarily suspended in this activity of watching (or playing) the game together. This route will be the one I shall be visualising.

Beach storyboard visual language

Tutorial review

Reflective writing
Review of tutorial and peer discussions (Jon Hamilton/Donna Rumble-Smith)

Animation:
The flow of the animation is apparent, the use of wallpaper to allow pauses and continuation works well. (DRS)

Much improved and professional (DRS)

Alter the visibility of narrator’s voice (key change, but important) (JH)

Reduce time allowed on end credits (perhaps 3 blocks of text in one go), allow text to scroll on and off, too much time dedicated to this (JH)

Positive feedback about the audio (end part of the credits, ‘off mic’. (JH)

Positive feedback about poster and its relevance (MA level) (JH)

Positive feedback about including own terms ‘Textura kinetic’ (JH)


Beach storyboard:
Consider aligning visual language of older and younger voices using non-clinical background. (DRS)

Tom’s background is too ‘clean’ perhaps needs to be more painterly and an insight to his fantasy world. (DRS)

I like the ice-lolly fish, they are fun! (DRS)

You can see the parallel of Ken’s animation with the beach storyboard, the wallpaper is replaced by the beach (DRS)

Consider showing how the text appears on screen, show more stills to show that only key words appear in the sand (DRS)

Positive feedback about beach storyboard. (JH)

The storyboard gives a good insight into your intended animation and indicates your progression on the MA, using the quotes to contextualise the work is helpful. (JH)

Approach linguistic departments, create an abstract for a linguistic conference, consider your options to enable the funding of this next animation. (JH)

As regards the stock images, just reference where they are from and do not worry about showing them (JH)

For the narrator’s lolly stick background, think about how this could flip onto screen, perhaps it has lolly juice on it, or the old joke wears out to reveal the narration?(JH)


1,000 words
Instead of reviewing sketchbooks, I am keen to concentrate on analysing the Ken animation. Suggestions and questions are as follows:

1 Discuss the time code, when does it appear and why?
2 Have you achieved what you set out to achieve (animation)?
Did you have preconceived ideas and have these been shattered?
3 Your style of interviewing is not formal, you tend to feed answers to the speaker, discuss this in more depth. Should the interview be seen as formal or informal?
4 Discuss how you gathered the data and what the process was like
5 How did audio additions help or hinder the project?
6 What methods have worked in the animation, which methods are less successful?
7 Why did you treat the more animated voice in a neutral way and vice versa?
8 Why is there a mixture of contemporary processes and more traditional methods?
9 What does the map signify, and the doors?
10 Discuss the relevance of the pictures show, Welsh lady, shield, council calendar.
11 Why does the 3 legged Bambi feature in the animation?
12 Why have you shown laughter in 5 different ways throughout the animation? What were your influences?
13 Why do numbers appear in red throughout, spelled out, not in their numerical forms?
14 Are you celebrating Ken’s life or commiserating with him?
15 Does the wallpaper signify anything other than wallpaper?
16 What does Ken think of the animation?
17 What are other’s perceptions of Ken’s life?
18 What parts of previous animations have you applied or included?
19 Why is the word tea changed into a capital ‘T’, what is the significance?
20 How many tea-related visuals or audio clues have you embedded in the animation?
21 What are the key things you have learned form creating this animation that will inform future work? Your response can be from personal and professional viewpoints.
That there are questions that lead to more questions and the answers are not finite but are fluid as more research unveils new directions.
22 What are the parallels between the animation and the visual summary of the letterpress poster? Discuss the texture of tone of voice and the precision of the linguistic data analysis.
23 What are the parallels between typography and spoken language? (This is the question I set out to explore)

Letterpress poster
The letterpress poster received positive feedback from tutor and peer. Suggestions to create overlays using hand written text onto acetate and allow the audience to interact with the poster.

I am keen to use acetate printed overlay or dry transfers.

The use of precision and vector as a contrast to the raw unfinished imperfect letterpress interested tutor and peer.

It was suggested that small paragraphs are included to aid the contextualisation
of the work.

June reflective writing

Reflective writing - Review of beach storyboard
This has been revised and simplified. Originally text appears in the sand and items relating to the beach were used to show sound patterns, the younger child’s voice was depicted using 3d origami shapes. Both of these aspects have been reconsidered.
The older child’s intonation and content of speech appears in a more melodic and formulaic pattern. His answers are almost ‘text book’ responses, this is
represented using a notebook as musical notes and as the voice intensifies so to does the scale of type, but it always appear to be ‘contained’ and confined within a musical structure.

“...When we sing, most of our musical message is carried out not by the overtones (which are what we use to tell one vowel from another) but by the fundamental. This is the tone that is identified musically as A or a C or an F in such-and-such an octave. When we speak we use the fundamental too, and it is called intonation. It resembles music not only in its physical basis but in other ways as well-both have ties with emotion. The chief difference is that music is an art form and is highly elaborated; we insist on exact intervals and exact combinations, and we play all sorts of imaginative tricks with melodies and rhythms. Language cannot afford that degree of originality, for it has to be conventional; it has more important business than transmitting feelings, and this forces it to harness emotion in the service of meaning” Bollinger, D (1972) Intonation Penguin, London (p.11)

Key words such as ‘hot’ and ‘sea’ appear written in the sand almost like a chorus repeated in the background during the narration.
The younger child’s language has been represented in a more visual way, in keeping with his vision of the word and preferred way of communicating. Depicting language lends itself well to visual imagery. Tom’s narration appears in a raw sketchy manner in terms of the type choice, this contrasts with Charlie’s formal ordered response which is slightly formulaic and school-like.
In terms of the countdown sequence, I am concerned about the use of photography, it is not original, does it need reshooting? How can I get the props in time?


Review of letterpress poster
The poster for the MA Exposition entitles ‘Visual and Linguistic methods to represent intonation of spoken language’ was primarily created to visualise different methods of intonation as an introduction to the project and linguistics.
The poster signifies key methods that have influenced the animation. The poster is not intended to be conclusive but introductory. Originally the words ‘tea’ were illustrated using transcription convention, with little information, just appearing as headings. After discussing this with tutors I have amended this and included more detail, what the method is, who are pioneers in these methods and their respective efficacies within the animation. Eight different methods are shown such as, contour, linear, crazy letter, textura kinetic, concrete poetry and transcription convention.
See a few examples of the information below:

LINEAR METHOD
Fries (1940) introduced the notation of intonation with the
emphasis being primarly on illustrating pitch heights by
drawing lines around sentences. This simple method is taken further by linguists such as Alan Pence (1964), who illustrates prenuclear contours and hypothesies as follows;

STEPPING PRENUCLEAR CONTOUR
‘The contour has a meaning of normal or declarative statement’.p328 Bollinger, D

RISING PRENUCLEAR CONTOUR
‘It has a meaning of incompleteness or sequence.’p329 Bollinger, D

FALLING PRENUCLEAR CONTOUR
‘Its meaning seems to be excitement.’p329 Bollinger, D

LEVEL PRENUCLEAR CONTOUR
‘It has a meaning of suspense.’ p330 Bollinger, D
CRAZY LETTER
The ‘crazy letter’ technique is a more visual expressive way of recording syllables and voice pitch. This method was favoured by American Professor of Romance Language and literature at Harvard University, Bollinger. This notation has been particularly useful, in my animated work, to project the attitude and tone of the speaker.
‘...the details of precontours, and even the details of the contours themselves, signal nothing but the emotional stance of the speaker.’ p215 Bollinger, D (Richard Gunter)

TEXTURA-KINETIC
This method was created to signify the tonal quality of the speaker. Using letterpress with intaglio ink, the act of rolling the ink onto paper and recording its broken, imperfect qualities, its slight nicks and worn patina relate directly to the aged, heavy smoker’s voice. The kinetic act of the letterform synchronizes with the voice and is then faded or physically screwed up and dismissed to indicate societies view on ageing and the current ‘throw away’ mentality.

LEVELS METHOD
American linguists such as Pike (1945), Trager and Smith (1951) favoured this method to record levels of pitch. Four levels are identified, the latter linguists measure the pitch levels from 1-4, starting from 1 (low) then 2 (normal), 3 (normal, high) and finally 4 (extra high).

Bibliography
Bollinger, D (1972) Intonation, Selected readings, Penguin books, London
Hawkins, P (1984) Introducing Phonology, Routledge, London

In terms of materials I have deliberately used mixed media to express age and precision. Aged, worn vocal chords are represented by the use of letterpress. Precision and the implication of measurement are shown by the use of a vibrant colour change and vector graphics, this is utilized on the linguistic methods to express intonation of speech. Analysis of data has occurred, in the same way a doctor prescribes for a patient, a decision has been made and a prescription issued, it is my aim to highlight this analysis and alert the viewer to its existence.
The large letter ‘T’ acts as a centrepiece on the poster, dominating the layout, just as it does in the animation. It is intentional that the letterpress elements contrast strongly with the crisp precision of the transcription methods to show the audience how linguistics and art have defined and audited the sounds using symbols and visual keys.

‘Textura kinetic’ is a method I have created based on the animation process and reflection on the emotive response I had when listening to the speaker’s voice.
My definition of textura kinetic, “Careful selection of type (whether handmade or digital) representing the tonal quality of the speaker, particularly the textural qualities. The method involves a movement of the type which is in keeping with the synchronization and attitude of the speaker.” Allanson-Smith 2009