The difference between broadcast and narrowcast lies in two keywords: broad and specific. But they are both aimed at groups of people. Broadcast is good at delivering information to a wider audience so that its message is known for some promotional or commercial purposes, so broadcast is aimed at a wider and more diverse group of people. In contrast to radio, narrowcasting is about sharing information to individual groups and is more targeted as they try to attract a more passionate and interested target group. Some narrowcasting is even tailored on a one-to-one basis, serving only one person.

I think broadcast can be better communicated than narrowcasting because there is no specific audience to serve, so it is more accessible. However, compared to narrowcasting, the broadcast has less targeted publicity so it is not easy to achieve the desired goal in the short term. However, I believe that narrowcasting is based on broadcasting because it requires broadcasting or some form of access to information about a specific group of people for the purpose of classification or research. After discussing the concept of these two terms with my friend, we had some questions such as, is narrowcasting limited in terms of the group of audience? And is broadcast completely unrestricted? Ultimately I think that the starting point of radio is not limited but the audience group itself may be limited. For example, some Chinese broadcasts have no specific audience, yet some people are unable to listen to them because of language issues. Narrowcasting, on the other hand, is not completely restrictive or limited, and sometimes even receives a very good response to its targeted messages. According to some surveys, ninety-eight per cent of people will open narrowcast emails, while broadcast emails are often ignored.

When I was thinking about these two concepts, I noticed that some of today’s social media genres have examples of these. For example, at Tiktok, at the beginning they push different types of videos to users to determine their preferences, this is broadcasting, and then they push the appropriate type of videos to users based on these judgments, thus arousing their interest and spending time on these videos. This is narrowcasting. This combination of broadcast and narrowcasting is a perfect example of filtering and research to increase customer satisfaction and achieve the desired outcome.

In today’s class, we worked on mimicry and sound effects and I was involved in the part where we created the sounds of the sea and screaming. I held the tape in my hand and gently rubbed it to create the sound of the sea breeze blowing on the beach. The other students created the sound of the wind blowing the sand away by moving it around. In the scream session, the three of us screamed together, a sound that I think could be put into our radio, as we have a violent part in our drama. The most interesting part for me was the killing of the watermelon, although I wasn’t in the studio doing it, I could already imagine how I would create the sound of a knife stabbing a person as the students stabbed the watermelon with various tools to make the sound.

I also tried to create my own sound effects at home, I wanted a blood spatter sound so I recorded a wringing wet towel sound. When I listened back to the sound and did some eq processing, I still found the sound very unrealistic and I didn’t find a solution in the end, but of course I will continue to work on the sound.

I also used a synth to create a whoosh sound that I wanted to put in the flashback segue of our script. I used five tracks of different synth sounds, changed their xy and stacked them on top of each other. Unfortunately when I used the whoosh sound I found that it was too cyberpunk and did not fit in with the theme of our script.

In my last blog, I talked about how I was inspired by the movie and in this blog, I will talk about the creation of my script and the problems I encountered.

After discussing my ideas about the theme of school violence with my group, I started trying to write a script for a radio play. The most important thing in writing a suspense drama script is logic, so I was very careful in the beginning, afraid that I would write something wrong and the context would not make sense. So I drew a relationship diagram of the characters and wrote a synopsis of the story in Chinese.

I also used flashbacks in the script because they added more richness to our broadcasts and gave us more opportunities to create sound effects.

I found some interesting things in the process of writing the script. I would imagine the script as it would be recorded, the sound effects it would add or the music. So I would also mark the effects that I wanted to express in the script so that our group could understand it better.

I also encountered some translation difficulties in the process of writing the script. As English is not my first language, the English version I translated after writing the script was not very authentic British English. We also discussed whether to record the radio drama in a combination of Chinese and English, and both Juice and I agreed to use all English. My group member, Fraser, took on the role of revising the English script, which he made more authentic and natural.

In my last ORIGINAL piece, I divided the whole piece into four different parts. These four different parts also represent the four different stages of sleep.

I also made this piece based on the images I imagined. First of all, in the first part, I added my recorded snoring sounds and footsteps, and with the footsteps, a more beautiful synthesizer started to enter my sleep. It was like I was walking along in a dream, and then I reached the second part, where I dreamed I was walking on roads and grasslands and lakes. So the second part was more relaxed, I added a guitar loop and added some padded strings and some field recordings of running water. Then I continued walking in my dream and reached the third part, where my nightmare began. I walked with the sound of water to the mouth of a tunnel, which was pitch black, and as I entered some horrible flying creatures flew around me, and in the distance some monsters screamed. The last part was also the part where my dream faded away because the noise outside the dream (the sound of renovation, and the sound of the weed whacker outside the house) disturbed my sleep.

In the second synthesized sound, I also used multiple layers of synthesized sounds to overlay. This synthesizer sound is mainly to express the impact of car noise on sleep, I have recorded in the field during the middle of the night outside the sound, in the recording, I will hear the car rubbing the ground to make a loud sound. The presence of this sound in the residential area is to disturbs the sleep of residents.

I modulated a sound similar to that of a sports car rubbing the ground in the Alchemy and superimposed it twice, this represents the noise of this car that has been troubling people’s sleep.

In the other two synthesizer sounds, I also used multiple layers of synthesized sounds layered on top of each other. In these two sounds, I aimed to get the sound of the more eerie and scary atmosphere of my dream world.

In the third synth sound, I added two tracks of bass effects to give the whole thing a fullness. I also sampled the previously recorded police car siren and transposed it so that the originally harsh sound was transformed into a series of barking dogs. I played a loop with a sweeping bass, and the modulated bass sounded very much like the monster in my dream destroying my dream world. And at the end I added a little bit of heartbeat, representing my nightmare of being very nervous.

In the fourth synth sound, I also used a loop to create the tension of my nightmare. I used an electric guitar type synth sound as a main melody, which gave me a sense of energy and made me feel tense like my nightmare.

I tried to use alchemy to get the sound effect I wanted by overlaying multiple layers of audio tracks. I found the sound effect on the alchemy and found a whoosh-like sound in it, which I modulated to sound very much like a flight sound. And I wanted a left-to-right and then right-to-left feel, so I used automation to edit the pan of the track. I also cut off a little bit of the high and low frequencies of the recorded flight sound track and increased the midrange part, because after trying this method to make the flight sound more tense and stronger.

Then I was going to use some ambient sounds to set the stage for the flying sound. So I was looking for a bass to add to the low end of the track. So I added a bass track to the alchemy. I wanted the buzzing sound, so I did the high cut. Increase the richness of the low end.

I added a flute-like sound. This sound will make the whole clip more eerie and low.

At the end I added another layer of soundscape to add a little delay and echo. This layer of soundscapes continues to keep the entire flight of sound effects and this ambient sound in your ears.

Finally composed a whole and added a little compressor and some reverb.

Lucia H Chung is a Taiwanese artist based in London. She performs and releases music under the alias of en creux. A lot of her work shows a strong fascination with noise.

In her speech, she mentioned the many culture shocks she encountered when she first came to the UK as a non-native English-speaking student. But she used this culture shock to make one of her video projects in the UK, where the differences in translation between various languages and different cultures understand the same thing differently.

In the album The Water Lucia H Chung pushes into the “persistent” side of the Hard Return remit with two extended drone pieces for no-input mixer, exemplifying how so-called stillness is paradoxically a site of constant energetic feud. The two sides depict deficiency and surplus respectively: the first a semi-solid hum that flickers on the brink of becoming, the second a harsh buzz that presses into excess until it warps. Balance and stillness, so readily associated with drone, are therefore illusory – only ever implied in the cancelling-out of these deviations from equilibrium, manifesting as a non-state framed by exertion, arriving within that silent pause between these two exquisitely manoeuvred tilts.

The two pieces on this album are each 19 minutes long. There is a clear dynamic change in the sound during the 19 minutes, from a steady change at the beginning to an unstable and harsh change at the end. The two pieces on this album are each 19 minutes long. There is a clear dynamic change in the sound during the 19 minutes, from stable at the beginning to unstable and harsh at the end. This is just like my dreams, which also change. Like in Lucia’s piece, the sound has very abstract changes that are very difficult to describe. It is very much like a dream, and sometimes we may not be able to describe our dream feelings accurately.

NikNak is an Olam Award-winning and history-making storyteller in her own right who has dedicated herself to developing her unique practice as a DJ and Turntablist, sound artist/songwriter, producer, mentor, sound engineer, and radio host.

In her work, Bashi is the album I prefer. the word Bashi means peace in Turkish, so this set of sounds was also all recorded in Turkey. The album contains 10 tracks of immersive ambient music telling her story in Turkey.

There’s something about the album that allows me to be in the environment where it was recorded, with NikNak’s use of delays and echoes, some complex turntable techniques and some field recordings. I was able to feel the grandeur of nature through her work. In the work Kid, I can also hear some children’s voices. I think this part probably reflects peace and reminds us that we should be as naive as we were as children.

In the work Compass, I can hear a lot of abstract sounds. There is just a feeling of transmitting information, like a transmission between the natural world and the digital world. The work also has the sound of birds calling, which represents the natural world. But I also hear the sound of rain and drums, and maybe these represent the digital world. The two began to exchange information with each other.

In 1975 an exhibition of visual music works from the 1960s was held in Düsseldorf. The works of many outstanding practitioners were added to this exhibition, such as John Cage’s 33 1/3 from1969. The exhibition is also presented in a White Cube environment, but it also allows participants to interact with the works on display.

John Cage’s original “score” was conceived as an audience participation piece in 1969, simply specifying that the gallery should be filled with about a dozen record players and two to three hundred vinyl records. Museum visitors were encouraged to act as DJs, creating musical combinations by freely playing records and performing their compositions.

Adding the senses of hearing and touch into the curatorial strategy indicated not only a change in how the exhibited artworks were experienced, but also in how visitors were expected to perceive the institution. 

The White Cube is used in many exhibitions, and most of the exhibition halls I have been to use this architectural form. But at first I didn’t know why the walls of the exhibition hall were white, and the lights were coming down from the ceiling. I initially thought that this form of decoration is more simple and more economical. But in fact, I can show through my own feelings why the White Cube can make the viewer more focused. Because when I stand in front of the work, I am not disturbed by the outside world because it is a sealed environment, and the clean walls and artificial lights make the work clearer to me.

The exhibition Sehen und Horen offers a physical intimacy that contrasts with the customary physical distance in the White Cube. This exhibition was held in Cologne in 1974. Although the exhibition was held in an art space, the objects exhibited therein were aimed at consumers, so the works were called products. Like film cameras and radios are expanding communication, watches and clocks are how people locate themselves in time and space, and calculators and computers are how people process information. Some products are placed in dark rooms where the audience can listen, and some spaces are used for screens to watch videos. This exhibition emphasizes the combination of hearing and seeing, but the works in this exhibition allow visitors to touch and test them.

Steven Connor ruminates on the various connections between the senses and advocates touch as an accompaniment to the sense of hearing. Whereas the relation between seeing and hearing is that of immediacy, that is, sound is immediate and sight confirms or allows understanding of what is heard, the relation between hearing and touch is that of mimesis.

I think this model of exhibition can be more for visitors to experience, and also can do a good job of interacting between exhibits and visitors. But when the exhibition is exhibiting some famous paintings or very expensive works, White Cube is more suitable for this kind of exhibition.