{"id":346,"date":"2015-02-05T14:22:15","date_gmt":"2015-02-05T14:22:15","guid":{"rendered":"http:\/\/seeingsound.be\/?page_id=346"},"modified":"2015-11-23T11:18:40","modified_gmt":"2015-11-23T11:18:40","slug":"earthly-metaphore","status":"publish","type":"page","link":"http:\/\/www.seeingsound.be\/?page_id=346","title":{"rendered":"Vocabulary: &#8220;Artisanal&#8221;"},"content":{"rendered":"<div class='analysis'>A term that denotes a general approach towards the acoustic and visual materials that are used, and a general artistic philosophy. It thus belongs in the same category as <a href=\"http:\/\/www.seeingsound.be\/?page_id=348\">Artificial<\/a> and <a href=\"http:\/\/www.seeingsound.be\/?page_id=501\">Experimental Realism<\/a>. In artisanal productions the makers want to stress that real people have been working at it, using natural materials. Stylistically this often results in productions with rough edges, whereby imperfactions have not always been polished.<\/p>\n<h3>Case 1: F =  m.a <\/h3>\n<p><iframe loading=\"lazy\" width=\"100%\" height=\"250\" src=\"\/\/www.youtube.com\/embed\/2SmQI2naJSk?feature=player_embedded\" frameborder=\"0\" allowfullscreen><\/iframe><\/p>\n<h5>&#8216;F = m.a&#8217; (2014) by Melanie Kellens and Anouck Vaassen<\/h5>\n<div class=\"column-grid column-grid-2\"><div class=\"column column-span-1 column-push-0 column-first\"><\/p>\n<hr>\n<p>Filmmaker: Melanie Kellens.<\/p>\n<hr>\n<p>In this film the material of reference is chalk on a wooden blackboard. The lines are deliberately made sloppy and <strong>sketchy<\/strong>, which suggests that the images have been manually drawn before having been edited.\n<\/p>\n<p>\n<\/div>\n<div class=\"column column-span-1 column-push-0 column-last\"><\/p>\n<hr>\n<p>Music composer: Anouck Vaassen.<\/p>\n<hr>\n<p>Only the harp and the violin were used to record the score. As such the essence of these classical instruments is maintained and the interplay between both takes a central role. <strong>Hardly any effects<\/strong> like reverb or compression have been used during the mix and mastering phase, in order to guard any imperfections the sound may contain.<\/p>\n<\/div><\/div>\n<h3>Case 2: Temps Perdu <\/h3>\n<p><iframe loading=\"lazy\" width=\"100%\" height=\"250\" src=\"https:\/\/www.youtube.com\/embed\/BCyUSGvgCb8\" frameborder=\"0\" allowfullscreen><\/iframe><\/p>\n<h5>&#8216;Temps Perdu&#8217; (2014) by Femke De Bruyne and Annechien Strouven<\/h5>\n<div class=\"column-grid column-grid-2\"><div class=\"column column-span-1 column-push-0 column-first\"><\/p>\n<hr>\n<p>Filmmaker: Annechien Strouven.<\/p>\n<hr>\n<p>In this film the act of drawing on paper is suggested by the use of <strong>rough, uneven textures<\/strong>. The heavy movements of the characters refer to the heydays of classical 2D animation.\n<\/p>\n<p>\n<\/div>\n<div class=\"column column-span-1 column-push-0 column-last\"><hr>\n<p>Music composer: Femke De Bruyne.<\/p>\n<hr>\n<p>A minimal setup  of instruments is chosen (piano, contrabass, violin, trombone) that are all played in a <strong>robust<\/strong>, <strong>unpolished<\/strong> way. As a result the attention of the listener is automatically directed towards individual sounds. This is supported by an edgy, staccato style of writing, with frequent use of contrarious accents.<\/p>\n<\/div><\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>A term that denotes a general approach towards the acoustic and visual materials that are used, and a general artistic philosophy. It thus belongs in the same category as Artificial and Experimental Realism. In artisanal productions the makers want to stress that real people have been working at it, using natural materials. Stylistically this often <a class=\"read-more\" href=\"http:\/\/www.seeingsound.be\/?page_id=346\">[&hellip;]<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-346","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"http:\/\/www.seeingsound.be\/index.php?rest_route=\/wp\/v2\/pages\/346","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.seeingsound.be\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/www.seeingsound.be\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/www.seeingsound.be\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.seeingsound.be\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=346"}],"version-history":[{"count":31,"href":"http:\/\/www.seeingsound.be\/index.php?rest_route=\/wp\/v2\/pages\/346\/revisions"}],"predecessor-version":[{"id":799,"href":"http:\/\/www.seeingsound.be\/index.php?rest_route=\/wp\/v2\/pages\/346\/revisions\/799"}],"wp:attachment":[{"href":"http:\/\/www.seeingsound.be\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=346"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}