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