Drift Assessment

1. Describe two situations that aggravated, bothered, shocked or otherwise stressed you during Drift 1. (Please note that the situation CANNOT be technology-related.)
I wasn’t particularly aggravated on my drift, at least not enough for it to make a huge impact on my experience. However, once I was back in the studio attempting to edit, I wish I had gathered more material. A lot of my recordings weren’t held out long enough to hear the natural fade of the sound. While recording, I did not turn down the dial correctly for some of my recording that was exceptionally high or low pitched. With that, the sounds were distorted and basically unusable. I also wished I had more time when I was out on my drift. I felt like I had just started when the time came for my to head back.

2. Describe, with details, two situations during Drift 1 in which you felt unusually peaceful, at ease, or contemplative.
I think in general, I felt really at ease with my headphones on. It was as if, when I had my ears covered, I was invisible, making the sounds that much more obvious. I felt like an outside observer than a participant. This intensified the experience a great deal. I was more able to rid my self-awareness and indulge in the aural surroundings.

3. Describe three surprises or unexpected situations you encountered on your Drift and in the days that followed. The surprise could stem from your expectations that conflicted with "on the ground" realities, cultural or social issues of which you were previously unaware, feelings and reactions that you did not expect to have, appearances and soundings of things you did not expect, good or bad outcomes of "on the spot" decisions you had to make, or the discovery of "deeper" realities in the materials you brought home. (Again, skip anything technology-related!)
I guess I was most surprised by the small bloopers in my recordings, those sounds that I didn’t even hear while I was making the recordings. I noticed that a great deal of interesting sounds go unnoticed. Little taps and splashes were sometimes too faint. Other, louder sounds were sometimes just too quick. Both kinds I would forget about until after I reviewed the sounds multiple times. Those were the sounds too that grew on me and eventually became my favorites. I also overlooked the presence the constant sounds, like the rain. Those background noises that were steady began to blend together forming a white noise effect.

4. Describe your favorite experience, situation, place, or recollection from your Drift. Be specific about what happened, how you felt, how you reacted, and why you think this particular experience affected you so much.
I liked the entirety of the experience. I very much liked the stages of it; invisible walking and observations, followed by recollection period where I listened to my recordings over and over and over again, and finally the editing. Although I wasn’t necessarily motivated to go out and do it in the first place, the process was inspiring. And once I was familiar with my sounds, I became attached and enjoyed the artistic power to decide what material was pleasing enough to present.

10 Questions

1. What is directly to my right, left, in front or in back of me?
2. What is the most prominent color in this environment? What colors are rare?
3. Is there anything completely natural in this environment?
4. If I walk down this road, and then backtrack, will I see anything different?
5. Do the shadows on objects directly show the time of day?
6. Where do the lined detail in something originate?
7. How does the presence of people manipulate the immediate environment?
8. What would an object look like upside down? On an angle?
9. What is the different between two things that look outwardly the same?
10. Is there a sign visible?