![]() They kept audio diaries and two weeks later the collected work was edited by them, along with professional sound editors, into the final version. It was produced by giving the boys portable cassette tape recorders, quality mikes, and training them. This 30 minute piece is a wonderful “view from inside” that gives us a portrait of a community by revealing the two makers as they construct an audio diary. To dramatize this and tease you, let me play the opening of an award winning 1993 audio documentary, Ghetto Life 101, recorded by two young teenagers living in Chicago: ![]() The third thing I want to do is give you an example of what audio documentary can do which in many cases makes it better - yes, I said better - than visual documentary. That leads to the second thing I want to do, which is to celebrate audio documentary today, and to give you an overview of what’s happening. OR to put it in positive terms, I want to make people aware of what is already going on. One is to scold Visible Evidence participants for being ignorant of or avoiding thinking actively about audio documentary. So, I want to do three things this morning. My specific concern with this paper is to convince everyone that audio documentary is fully worthy of study both in conjunction with visual documentary, that is as part of audiovisual work, and in its own right as a form that bears very strong resemblances to the aesthetic and practical issues of visual documentary, especially in its cinema and video forms. Yet we both thought it was an important part of the documentary tradition and experience, and, full story be told, that audio recording precedes cinematic recording. ![]() This panel began with a conversation between Derek Paget and myself at the last Visible Evidence conference about how especially, with the rise of visual culture studies, audio was being lost track of. Those of you who were able to attend the Monday afternoon workshop on community based media organizing, as well as yesterday afternoon’s panel on socially committed work, will see many connections to what I’m saying here. ![]() Tom, this is a terrific tribute to the long history of the Visible Evidence conferences. I want to personally thank the organizers of the conference for a wonderful event, so thoughtfully and industriously organized. This is a presentation I made at the 12th Visible Evidence Conference in Montreal in August 2005 on a panel I co-chaired with Derek Paget titled, “Listen Up! The Sound of Documentary.” I’ve decided to keep the spoken word tone and rhetoric for print publication because it conveys a key point about audio/oral delivery. SmartDeck can also auto-adjust the iPod's volume for optimal sound quality, Griffin says.Audio documentary by Chuck Kleinhans, text versionĢ006, Jump Cut: A Review of Contemporary Media Ejecting the adaptor also sends a Pause command to the iPod. Ditto Play and Pause, by reading if the cassette deck's magnetic head is engaged or not. That feedback could be used to send a signal to the iPod to do the same -although Griffin uses the information to skip tracks rather than run through them at speed. Griffin hasn't said how it works, but it's not hard to imagine a system that detects fast forward or reverse button pushes by sensing how the cassette adaptor's sprocket wheels are being driven. However, Griffin claims to have figured out how to send control data from the tape deck the other way, allowing drivers to operate their iPod from the tape player. Like many other cassette deck adaptors, the SmartDeck relays the iPod's output through the deck's magnetic head. IPod accessory maker Griffin Technology has launched what could prove the best way of connecting the Apple MP3 player to an in-car tape machine.
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