Point of Beginning Animated Graphic Documentary - Revision history

Saskia: /* Audio Recording and Translation in the Blue House */

2025-08-16T15:04:19Z

Audio Recording and Translation in the Blue House

← Older revision		Revision as of 15:04, 16 August 2025
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	[[File:Blue house logistics (sm).jpg\|thumb\|"Blue House" interior (photograph by de Wildt, 2021)]]		[[File:Blue house logistics (sm).jpg\|thumb\|"Blue House" interior (photograph by de Wildt, 2021)]]

	Eventually, the "Blue House:" and ‘old arcade’ that ended up functioning as a launch pad for on-the-land sampling activities for multiple research projects due to its size and affordances for storage, eventually turned out to afford a quiet space for recording. The possibility of turning of the heating and other electrical equipment was effective, though not very comfortable. We would be able to record 20 minutes and then turn the heat back up, as to not get too cold.		Eventually, the "Blue House:" and ‘old arcade’ that ended up functioning as a launch pad for on-the-land sampling activities for multiple research projects due to its size and affordances for storage, eventually turned out to afford a quiet space for recording. The possibility of turning off the heating and other electrical equipment was effective, though not very comfortable. We would be able to record 20 minutes and then turn the heat back up, as to not get too cold.

	[[File:Tuppittia reading.jpg\|thumb\|Recording tuppittia Qitsualik reading in the "Blue House" (photograph by de Wildt, 2021)]]		[[File:Tuppittia reading.jpg\|thumb\|Recording tuppittia Qitsualik reading in the "Blue House" (photograph by de Wildt, 2021)]]

Saskia: /* Collective Film Screenings GH */

2025-07-19T10:04:45Z

Collective Film Screenings GH

← Older revision		Revision as of 10:04, 19 July 2025
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	I was also able to screen the two other videos with all the people that had participated in making them. After the screening we shared bannock, pop and soup, prepared by Danny Aaluk's mother, and had a collective discussion on the cultural meaning of the songs and dances that the people had performed in the videos.		I was also able to screen the two other videos with all the people that had participated in making them. After the screening we shared bannock, pop and soup, prepared by Danny Aaluk's mother, and had a collective discussion on the cultural meaning of the songs and dances that the people had performed in the videos.

	[[File:~~DSC00985~~.jpg\|thumb]]		[[File:Projecting video on wall (photograph by de WIldt, 2022).jpg\|thumb\|Projecting video on wall (photograph by de Wildt, 2022)]]
	[[File:~~DSC00993~~.jpg\|thumb]]		[[File:Projecting video on wall II (photograph by de WIldt, 2022).jpg\|thumb\|Projecting video on wall II (photograph by de Wildt, 2022)]]

	<div class="next_choice">		<div class="next_choice">

Saskia: /* Audio Recording and Translation in the Blue House */

2025-07-19T10:00:29Z

Audio Recording and Translation in the Blue House

← Older revision		Revision as of 10:00, 19 July 2025
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	=Audio Recording and Translation in the Blue House=		=Audio Recording and Translation in the Blue House=

			[[File:Blue house.jpg\|thumb\|The "blue house" (photograph by de Wildt, 2025)]]

	To record the audio tracks for the voices of thunder film we needed a sound-controlled environment. Due to a lack of housing in Nunavut most homes are overcrowded, with very little opportunity for uninterrupted audio-recording. Houses and offices are furthermore often heated by noisy oil-tanks, which posed an additional challenge to record clean audio.		To record the audio tracks for the voices of thunder film we needed a sound-controlled environment. Due to a lack of housing in Nunavut most homes are overcrowded, with very little opportunity for uninterrupted audio-recording. Houses and offices are furthermore often heated by noisy oil-tanks, which posed an additional challenge to record clean audio.

	[[File:Blue house logistics.jpg\|thumb]]		[[File:Blue house logistics (sm).jpg\|thumb\|"Blue House" interior (photograph by de Wildt, 2021)]]

	Eventually, the "Blue House:" and ‘old arcade’ that ended up functioning as a launch pad for on-the-land sampling activities for multiple research projects due to its size and affordances for storage, eventually turned out to afford a quiet space for recording. The possibility of turning of the heating and other electrical equipment was effective, though not very comfortable. We would be able to record 20 minutes and then turn the heat back up, as to not get too cold.		Eventually, the "Blue House:" and ‘old arcade’ that ended up functioning as a launch pad for on-the-land sampling activities for multiple research projects due to its size and affordances for storage, eventually turned out to afford a quiet space for recording. The possibility of turning of the heating and other electrical equipment was effective, though not very comfortable. We would be able to record 20 minutes and then turn the heat back up, as to not get too cold.

	[[File:~~DSC00524~~.jpg\|thumb]]		[[File:Tuppittia reading.jpg\|thumb\|Recording tuppittia Qitsualik reading in the "Blue House" (photograph by de Wildt, 2021)]]

	=Editing and Motion Graphics=		=Editing and Motion Graphics=

Saskia: /* Artwork */

2025-07-19T09:45:12Z

Artwork

← Older revision		Revision as of 09:45, 19 July 2025
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	Danny makes detailed black and white ink-drawings that he sells to tourists that arrive by cruise ship in the summer, teachers and researchers that come into town. He also makes artwork for local events, the school and the hamlet office, and is occasionally invited to art-fairs in the South.		Danny makes detailed black and white ink-drawings that he sells to tourists that arrive by cruise ship in the summer, teachers and researchers that come into town. He also makes artwork for local events, the school and the hamlet office, and is occasionally invited to art-fairs in the South.

	[[File:~~DSC00570~~.jpg\|thumb]]		[[File:Danny Aaluk.jpg\|thumb\|Danny Aaluk drawing (photograph by de Wildt, 2021)]]
	[[File:~~DSC00586~~.jpg\|thumb]]		[[File:Drawing.jpg\|thumb\|Drawing for voices of Thunder (photograph by de Wildt, 2021)]]

	Danny and I would end up spending a lot of time together. We would talk the scene through, and he would ask detailed questions on the content of each scene.		Danny and I would end up spending a lot of time together. We would talk the scene through, and he would ask detailed questions on the content of each scene.
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	The drawings often invoked affective responses during which the initial stories and experiences that had led to the drawing were repeated, or more related stories shared.		The drawings often invoked affective responses during which the initial stories and experiences that had led to the drawing were repeated, or more related stories shared.

	[[File:~~DSC00591~~.jpg\|thumb]]		[[File:Danny drawing.jpg\|thumb\|Danny Aaluk drawing in his house (photograph by de Wildt, 2021)]]

	<div class="next_choice">The process of collaborating with Danny also allowed for an opportunity to get to know each other.		<div class="next_choice">The process of collaborating with Danny also allowed for an opportunity to get to know each other.

Saskia: /* Artwork */

2025-03-18T16:05:45Z

Artwork

← Older revision		Revision as of 16:05, 18 March 2025
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	<div class="next_choice">The process of collaborating with Danny also allowed for an opportunity to get to know each other.		<div class="next_choice">The process of collaborating with Danny also allowed for an opportunity to get to know each other.

	~~Both as creative collaborators, but also on the level of building an informal, personal relationship.~~

	We would usually spend considerable amounts of time chatting or drinking tea before and after the more transactional activities of payment, and dropping off drawings or sketches. As was often the case with others as well, such moments were combined with small favours like rides to the store or elsewhere in town, technical assistance with phone plans or small monetary advances for upcoming work.		We would usually spend considerable amounts of time chatting or drinking tea before and after the more transactional activities of payment, and dropping off drawings or sketches. As was often the case with others as well, such moments were combined with small favours like rides to the store or elsewhere in town, technical assistance with phone plans or small monetary advances for upcoming work.

Saskia: /* Collective Film Screenings GH */

2025-02-20T17:26:30Z

Collective Film Screenings GH

← Older revision		Revision as of 17:26, 20 February 2025
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	[[File:DSC00993.jpg\|thumb]]		[[File:DSC00993.jpg\|thumb]]

	<div class="next_choice">~~Explore how the connection between land, language and knowledge, as it was once more discussed during this screening influenced my research processes moving forward, through the landmark insight.~~		<div class="next_choice">

	~~Or, take~~ a small ~~detour~~ to Cut 1, if you would like to see the final creative research outputs of Gjoa Haven's "Voices of Thunder" - you will be able to return to this cut fairly soon.		Take a small '''"Detour"''' to Cut 1, if you would like to see the final creative research outputs of Gjoa Haven's "Voices of Thunder" - you will be able to return to this cut fairly soon.

	Take a ~~detour~~ to cut 2: Point of Beginning (Pre-)workshops, to move on to the next case study of aesthetic action: The final BearWatch workshops conducted in Gjoa haven and Coral Harbour.</div>		Take a '''"Detour"''' to cut 2: Point of Beginning (Pre-)workshops, to move to the next case study of aesthetic action: The final BearWatch workshops conducted in Gjoa haven and Coral Harbour.

			Explore the '''"Landmark"''' to learn more on the connection between land, language and knowledge, as it was once more discussed during this screening.</div>

	<span class="pop-up landmark link" data-page-title="Song, Dance And Oral Storytelling" data-section-id="0" data-encounter-type="landmark">[[Song, Dance And Oral Storytelling\|Landmark: Song, Dance and Oral Storytelling]]</span>		<span class="pop-up landmark link" data-page-title="Song, Dance And Oral Storytelling" data-section-id="0" data-encounter-type="landmark">[[Song, Dance And Oral Storytelling\|Landmark: Song, Dance and Oral Storytelling]]</span>

Saskia: /* Editing and Motion Graphics */

2025-02-20T17:23:41Z

Editing and Motion Graphics

← Older revision		Revision as of 17:23, 20 February 2025
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	<div class="next_choice">In particular the process of turning Danny Aaluk's drawings into motion graphics, and the adding of subtitles to each video, required an intimate engagement with both the voice-over recordings and Danny's drawings.		<div class="next_choice">In particular the process of turning Danny Aaluk's drawings into motion graphics, and the adding of subtitles to each video, required an intimate engagement with both the voice-over recordings and Danny's drawings.

	In fact, I can still hear Tuppittia's voice echoeing in my head, almost two years after finalizing the films. Spending time with the material over and over again gives a sensitivity to language. In this case, it invoked questions on how language works in relation to the land.		In fact, I can still hear William and Tuppittia's voice echoeing in my head, almost two years after finalizing the films. Spending time with the material over and over again gives a sensitivity to language. In this case, it invoked questions on how language works in relation to the land.

	'''"Keep Going"''' to return to the community to organize a screening of the videos and gather feedback.</div>		'''"Keep Going"''' to return to the community to organize a screening of the videos and gather feedback.</div>

Saskia: /* Editing and Motion Graphics */

2025-02-20T17:19:26Z

Editing and Motion Graphics

← Older revision		Revision as of 17:19, 20 February 2025
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	'''"Keep Going"''' to return to the community to organize a screening of the videos and gather feedback.</div>		'''"Keep Going"''' to return to the community to organize a screening of the videos and gather feedback.</div>

	From the perspective of someone who does not speak Inuktitut, there seemed relatively little variation in intonation and tone, either in the voice-overs and the singing of the pihhiq. Nevertheless, I was told multiple times that the words used "paint a picture of the land".

	=Collective Film Screenings GH=		=Collective Film Screenings GH=

Saskia: /* Editing and Motion Graphics */

2025-02-20T17:15:13Z

Editing and Motion Graphics

← Older revision		Revision as of 17:15, 20 February 2025
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	'''"Keep Going"''' to return to the community to organize a screening of the videos and gather feedback.</div>		'''"Keep Going"''' to return to the community to organize a screening of the videos and gather feedback.</div>

	From the perspective of someone who does not speak Inuktitut, there seemed relatively little variation in intonation and tone, either in the voice-overs and the singing of the pihhiq. Nevertheless, I was told multiple times that the words used "paint a picture of the land".		From the perspective of someone who does not speak Inuktitut, there seemed relatively little variation in intonation and tone, either in the voice-overs and the singing of the pihhiq. Nevertheless, I was told multiple times that the words used "paint a picture of the land".

	Moreover, the process of filmmaking, storyboarding, recording voice-overs, co-facilitating storytelling workshops and undertaking many other activities- both central, and tangentially related to film-making- in the community, had given me an possibility to enter into relationship with multiple community members that I would have otherwise likely not have met. Many of the people I worked with, fell outside of the usual network that was engaged around polar bear research in the past, and many of the people I connected with were women.

	=Collective Film Screenings GH=		=Collective Film Screenings GH=

Saskia: /* Editing and Motion Graphics */

2025-02-20T17:14:37Z

Editing and Motion Graphics

← Older revision		Revision as of 17:14, 20 February 2025
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	=Editing and Motion Graphics=		=Editing and Motion Graphics=

	After spending five weeks in the community of Gjoa Haven, I had collected a lot of audio-visual material to create multiple formats of creative media around Gjoa Haven's "Voices of Thunder". Moreover, the process of filmmaking, storyboarding, recording voice-overs, co-facilitating storytelling workshops and undertaking many other activities- both central, and tangentially related to film-making- in the community, had given me an possibility to enter into relationship with multiple community members that I would have otherwise likely not have met. Many of the people I worked with, fell outside of the usual network that was engaged around polar bear research in the past, and many of the people I connected with were women.		After spending five weeks in the community of Gjoa Haven, I had collected a lot of audio-visual material to create multiple formats of creative media around Gjoa Haven's "Voices of Thunder".

	For the subsequent 6 months, I worked with this material to edit three versions of the Voices of Thunder documentary, and create a throatsinging and Pihhiq video. I also ~~create~~ an interactive timeline and website that allowed for people to engage with Gjoa Haven's testimonies in other formats than film.		For the subsequent 6 months, I worked with this material to edit three versions of the Voices of Thunder documentary, and create a throatsinging and Pihhiq video. I also created an interactive timeline and a website that allowed for people to engage with Gjoa Haven's testimonies in other formats than film.

	In particular the process of turning Danny Aaluk's drawings into motion graphics, and the adding of subtitles to each video, required an intimate engagement with both the voice-over recordings and Danny's drawings. In fact, I can still hear Tuppittia's voice echoeing in my head, almost two years after finalizing the films. Spending time with the material over and over again gives a sensitivity to language. In this case, it invoked questions on how language works in relation to the land. From the perspective of someone who does not speak Inuktitut, there seemed relatively little variation in intonation and tone, either in the voice-overs and the singing of the pihhiq. Nevertheless, I was told multiple times that the words used "paint a picture of the land".		<div class="next_choice">In particular the process of turning Danny Aaluk's drawings into motion graphics, and the adding of subtitles to each video, required an intimate engagement with both the voice-over recordings and Danny's drawings.

	~~<div class="next_choice">~~'''"Keep Going"''' to return to the community to organize a screening of the videos and gather feedback.</div>		In fact, I can still hear Tuppittia's voice echoeing in my head, almost two years after finalizing the films. Spending time with the material over and over again gives a sensitivity to language. In this case, it invoked questions on how language works in relation to the land.

			'''"Keep Going"''' to return to the community to organize a screening of the videos and gather feedback.</div>

			From the perspective of someone who does not speak Inuktitut, there seemed relatively little variation in intonation and tone, either in the voice-overs and the singing of the pihhiq. Nevertheless, I was told multiple times that the words used "paint a picture of the land".

			Moreover, the process of filmmaking, storyboarding, recording voice-overs, co-facilitating storytelling workshops and undertaking many other activities- both central, and tangentially related to film-making- in the community, had given me an possibility to enter into relationship with multiple community members that I would have otherwise likely not have met. Many of the people I worked with, fell outside of the usual network that was engaged around polar bear research in the past, and many of the people I connected with were women.

	=Collective Film Screenings GH=		=Collective Film Screenings GH=