WEBVTT NOTE This file was generated by Descript 00:00:01.155 --> 00:00:03.880 Cameraman: Rolling on my end and you guys go ahead and take it away, 00:00:08.020 --> 00:00:11.320 Elizabeth: So yeah, just to start, do you want to give us a little 00:00:11.340 --> 00:00:12.600 bit of an overview of your piece? 00:00:13.600 --> 00:00:18.340 Olivia: Uh, my piece is called "Song Without Words" and, um, in a way it's 00:00:18.340 --> 00:00:24.160 a nod to Felix Mendelssohn work, but, um, I am playing on the fact that it's not 00:00:24.250 --> 00:00:27.000 called "songs," uh, but it's singular. 00:00:27.060 --> 00:00:31.530 And in a way I think of "song" as a kind of a verb where you are, uh, 00:00:31.589 --> 00:00:34.080 creating songs, creating sounds. 00:00:34.765 --> 00:00:37.735 Uh, or creating meaning in sounds or poetry. 00:00:38.175 --> 00:00:43.235 So this is my exploration of my, um, return, um, of the 00:00:43.235 --> 00:00:45.655 connection to my music background. 00:00:46.184 --> 00:00:51.205 And so, uh, and also which coincided with the time when I received a cochlear 00:00:51.234 --> 00:00:55.765 implant, which is a time when your brain is really trying to navigate 00:00:55.765 --> 00:00:59.484 through these, uh, new channels of hearing and learning how to hear. 00:00:59.994 --> 00:01:04.774 So, um, a lot of it is kind of, uh, differentiating fragments of 00:01:04.774 --> 00:01:08.554 sound and putting them together and, um, creating this experience. 00:01:08.875 --> 00:01:13.904 So that's why those, I intentionally, I created a visual piece and then 00:01:13.904 --> 00:01:20.715 intentionally play it back in a fragmented method with many, multiple panels so 00:01:20.775 --> 00:01:24.564 that, um, the viewer would have to walk through the space and, and put 00:01:24.564 --> 00:01:26.505 them together again to understand it. 00:01:26.574 --> 00:01:29.169 Elizabeth: The kind of like visual analog to what you were 00:01:29.300 --> 00:01:30.250 experiencing with your hearing then? 00:01:30.270 --> 00:01:30.410 Olivia: Yes. 00:01:30.460 --> 00:01:30.700 Yes. 00:01:30.910 --> 00:01:35.990 And, and I wanted to think about, um, movements or different, different, 00:01:36.150 --> 00:01:39.030 um, different forms of sound? 00:01:39.830 --> 00:01:42.230 And, um, when I was very little, I've always gone to 00:01:42.240 --> 00:01:44.020 symphonies with my, my parents. 00:01:44.450 --> 00:01:46.230 And, you know, I always watched the conductor. 00:01:46.490 --> 00:01:50.086 And the conductor kind of gave me an understanding of what I was, 00:01:50.136 --> 00:01:51.606 what I was hearing, symphonically. 00:01:51.936 --> 00:01:55.306 And I watched the, the, the bowing of the musicians. 00:01:55.786 --> 00:02:00.906 And so, and now that I am trying to learn American Sign Language, 00:02:01.166 --> 00:02:04.796 Um, I'm seeing this kind of, sort of a similarity and parallel of 00:02:04.816 --> 00:02:06.856 this sort of, um, communication. 00:02:07.766 --> 00:02:14.146 So, I think about this promise of communication and sound and speech 00:02:14.146 --> 00:02:17.346 in, in the sign language vocabulary. 00:02:17.771 --> 00:02:22.641 And then, but then somewhere in that, that gesture, when you're moving molecules of 00:02:22.711 --> 00:02:25.311 air, there's got to be meaning in that. 00:02:25.341 --> 00:02:29.101 So that is this idea of a movement of sound or wind. 00:02:29.111 --> 00:02:34.361 So wind is actually something that I also integrated in my sound, um,sound 00:02:34.481 --> 00:02:39.661 collage as well as, um, actual music of myself playing the piano, and, 00:02:39.661 --> 00:02:41.161 um, other sounds and frictions. 00:02:42.091 --> 00:02:43.901 Elizabeth: You mentioned all the gesture. 00:02:43.901 --> 00:02:49.561 I know you have some, um, Um, video of ASL, some video of conducting. 00:02:49.561 --> 00:02:50.941 Who are your collaborators again? 00:02:51.601 --> 00:02:55.611 Olivia: My collaborator, one is, uh, approached a, uh, one of my friends 00:02:55.971 --> 00:03:01.061 who is, uh, the director of the choral, the Birthday Choral, uh, Choral 00:03:01.391 --> 00:03:01.661 Symphony. 00:03:02.711 --> 00:03:07.541 And, uh, she's wonderful, um, and, uh, she, she agreed to help 00:03:07.541 --> 00:03:10.261 me, uh, conduct and her language. 00:03:10.751 --> 00:03:15.481 Um, And also I just asked her about what inspired her in 00:03:15.501 --> 00:03:16.841 her movement and conducting. 00:03:17.491 --> 00:03:22.831 Some of it is, you know, you have your basic tempo and then, but some 00:03:22.831 --> 00:03:27.551 of it is that you don't really know why you have these kind of gestures. 00:03:27.761 --> 00:03:31.551 And sometimes the sound propels you to make these sort of, 00:03:31.631 --> 00:03:34.541 um, enunciations or accents. 00:03:34.891 --> 00:03:39.301 And she, because she herself is a pianist, she talks about when you play 00:03:39.301 --> 00:03:42.291 the piano, sometimes you have a long run. 00:03:43.121 --> 00:03:44.061 You don't know why you do that. 00:03:44.501 --> 00:03:46.151 But the sound calls for it. 00:03:46.391 --> 00:03:47.071 Not calls for it. 00:03:47.101 --> 00:03:49.151 The sound ends that way. 00:03:49.601 --> 00:03:54.061 And so I thought that was a really beautiful, um, um, um, enmeshing 00:03:54.431 --> 00:03:58.655 of the sound in your body, and the result of this energy. 00:03:58.655 --> 00:04:00.494 So it came down to energy. 00:04:00.494 --> 00:04:02.611 So I think a lot about the energy. 00:04:02.946 --> 00:04:07.516 And, um, that's sort of tied to ASL as well because ASL is just so, 00:04:07.556 --> 00:04:11.606 um, it uses the whole body, really. 00:04:11.656 --> 00:04:15.996 It's about the space, when you're talking about present and past, you know, they 00:04:15.996 --> 00:04:18.356 can differentiate between characters. 00:04:18.786 --> 00:04:22.776 Um, and also the facial expressions. 00:04:23.186 --> 00:04:26.821 So, yeah, that's That's where I start really putting together 00:04:26.821 --> 00:04:28.101 these kind of parallels 00:04:31.111 --> 00:04:33.151 Elizabeth: Yeah, they talk about conductors that say, Oh yeah, 00:04:33.271 --> 00:04:34.631 have you played this orchestra? 00:04:35.101 --> 00:04:39.491 As if like they're playing an instrument, and they're not doing anything. 00:04:39.491 --> 00:04:40.601 They're not making any sound. 00:04:40.601 --> 00:04:42.901 But they are making sounds. 00:04:42.901 --> 00:04:43.486 Olivia: Right. 00:04:43.486 --> 00:04:44.071 Right. 00:04:44.071 --> 00:04:49.841 But it's also kind of like, um, when you watch a school of fish, 00:04:50.701 --> 00:04:52.451 you can almost imagine the sound. 00:04:55.581 --> 00:04:58.931 The glitter of the light on the, on the skin, you know, yeah. 00:05:00.711 --> 00:05:03.881 Some of the girls that I, I, you know, it's like all the 00:05:03.881 --> 00:05:05.951 scribbles of Beethoven's writings. 00:05:06.221 --> 00:05:09.911 Um, I, I recently was reading a book by Robin Roberts again. 00:05:09.911 --> 00:05:15.746 He talks about how Beethoven is almost projecting energy in, in his writing. 00:05:16.496 --> 00:05:20.486 You have dark areas, and you have light areas, and you've got scribbles, and 00:05:21.306 --> 00:05:26.366 um, angles, which is almost like he wants to go forward, or pulling back. 00:05:26.466 --> 00:05:29.146 And so, I thought that was interesting too. 00:05:29.286 --> 00:05:32.466 Elizabeth: Can you build up some of that density that Beethoven does 00:05:32.856 --> 00:05:39.086 with the, I'm not sure I'm saying this right, with the phonemes? 00:05:39.146 --> 00:05:41.676 I do know, that it's just occurring to me that you get him with that 00:05:41.676 --> 00:05:43.706 density, I mean, like, how much they appear in the second movement. 00:05:43.726 --> 00:05:45.726 Can you talk about that? 00:05:45.736 --> 00:05:46.913 Which is fascinating. 00:05:46.913 --> 00:05:47.483 Olivia: Phonemes! 00:05:47.826 --> 00:05:48.576 Yeah! 00:05:48.606 --> 00:05:53.246 Phonemes was, um, I was very surprised how I, I came about to phonemes. 00:05:53.246 --> 00:05:56.046 It was very, uh, long and winding road. 00:05:56.286 --> 00:06:00.226 But, um, I'm thinking about, uh, looking at dynamics. 00:06:00.296 --> 00:06:02.256 Musical notation, dynamics. 00:06:02.256 --> 00:06:04.626 And dynamics has to do with sound, loud and soft sound. 00:06:04.626 --> 00:06:11.701 And for hard of hearing, I think a lot of the, um, The, uh, difficulties in 00:06:11.701 --> 00:06:16.731 comprehension is that we're not missing, we're missing out, um, crucial sounds 00:06:16.781 --> 00:06:19.791 that define the meaning of a word. 00:06:20.121 --> 00:06:22.211 So in that case it'd be consonant sounds. 00:06:22.711 --> 00:06:24.891 And then I thought of, what is a phoneme? 00:06:24.941 --> 00:06:27.101 Phoneme is like the smallest unit of sound. 00:06:27.321 --> 00:06:28.821 And I looked at the notation. 00:06:28.961 --> 00:06:34.411 Some of the notations kind of remind me of the dynamics, um, visually. 00:06:34.726 --> 00:06:39.336 Um, because they use, uh, non, uh, Arabic letters. 00:06:39.856 --> 00:06:44.846 So I started redesigning some of these notations to mimic, um, the kind of 00:06:44.856 --> 00:06:47.726 classical music, um, dynamic notations. 00:06:48.316 --> 00:06:52.486 So then I started researching different kinds of phonemes and I started trying 00:06:52.486 --> 00:06:54.936 to say them, record myself saying them. 00:06:55.301 --> 00:06:58.961 And then, but then there's little singular sounds, um, and 00:06:58.961 --> 00:07:00.211 I thought of tongue twisters. 00:07:00.271 --> 00:07:03.201 Tongue twisters have a lot of repeating singular sounds. 00:07:03.201 --> 00:07:06.351 And, and the irony of that is tongue twisters are supposed 00:07:06.351 --> 00:07:09.571 to help pronunciation, so you can comprehend them better. 00:07:09.951 --> 00:07:14.836 But, for hard of hearing, it's sort of, um, It doesn't really work 00:07:14.926 --> 00:07:18.426 because you repeat another consonant and you can't tell the point. 00:07:18.826 --> 00:07:22.506 So, um, yeah, I'm just trying to put together, like, small units of things 00:07:22.576 --> 00:07:27.086 that build up to bigger units of things that still don't really help us. 00:07:28.196 --> 00:07:31.266 Elizabeth: Well, it's kind of like your charts, it was a relatively 00:07:31.266 --> 00:07:37.246 big chart on the wall.) Yeah. 00:07:37.636 --> 00:07:41.276 Can you tell us the story of how those things came to be? 00:07:41.276 --> 00:07:41.536 Olivia: Flowcharts. 00:07:41.536 --> 00:07:48.156 Um, that started out as a kind of a whimsical um, study for me, I think. 00:07:48.596 --> 00:07:51.916 Um, because I used to read, uh, I used to like reading those kind of 00:07:52.196 --> 00:07:53.516 choose your own adventure books. 00:07:54.051 --> 00:07:57.591 And, um, you pick one of the, ah, I picked a bad choice. 00:07:58.001 --> 00:08:02.011 But, uh, knowing that, then I would stick my fingers into all of these books. 00:08:02.841 --> 00:08:04.561 Oh, bad choice, I can go back. 00:08:04.651 --> 00:08:06.961 And then, so, [laughing]. 00:08:07.011 --> 00:08:08.861 And I would go through all these books this way. 00:08:08.861 --> 00:08:11.981 And I learned how to know that this is a bad choice or a good choice. 00:08:12.411 --> 00:08:16.976 And then, but then when you are, Trying to understand someone, you know. 00:08:16.996 --> 00:08:19.826 Something that could seemingly be so straightforward. 00:08:20.096 --> 00:08:22.589 Somebody said something, you look at them, you know, I get it. 00:08:23.019 --> 00:08:26.236 But, um, you know, there's so many circumstances. 00:08:26.246 --> 00:08:28.366 Like, um, can I see this person? 00:08:28.366 --> 00:08:30.491 Or this person? 00:08:30.591 --> 00:08:34.461 Going like this [hand over mouth], or this person has a beard, or, um, I used 00:08:34.461 --> 00:08:39.091 to have a, a professor who would like to talk to the wall [turns her back]. 00:08:39.091 --> 00:08:41.171 "And then, so, and then, and then, okay, 00:08:41.531 --> 00:08:42.081 understand?" 00:08:42.081 --> 00:08:42.161 No. 00:08:43.571 --> 00:08:44.531 [laughing]. 00:08:45.171 --> 00:08:48.041 So, um, and then, you know, all these kind of physical positions, 00:08:48.041 --> 00:08:52.001 you, you try to put yourself into places, um, to understand it. 00:08:52.401 --> 00:08:53.291 So that's the first one. 00:08:53.701 --> 00:08:57.261 I, I started thinking about just understanding people, 00:08:57.301 --> 00:08:58.531 you know, how do you do that. 00:08:58.906 --> 00:09:02.216 And, um, and you have a lot to make all these decisions. 00:09:02.446 --> 00:09:05.236 And then that sort of broke off into lip reading. 00:09:05.546 --> 00:09:09.876 Um, and then sometimes you hear people speaking, you hear the sound 00:09:09.876 --> 00:09:13.956 of it, but why is it that you can't figure out what exactly it is? 00:09:13.956 --> 00:09:20.131 And so, um, The second lip, uh, lip reading came out of the first one, which 00:09:20.131 --> 00:09:24.591 I was trying how to understand someone. 00:09:24.611 --> 00:09:26.571 Elizabeth: Were you making those for fun initially? 00:09:26.621 --> 00:09:26.971 Like how? 00:09:27.821 --> 00:09:29.141 Olivia: Yeah, I made them for fun. 00:09:29.741 --> 00:09:30.661 I made them for fun. 00:09:30.821 --> 00:09:36.171 Um, you know, it's, I'm trying to explain, you know, if I could show it to someone, 00:09:36.181 --> 00:09:38.261 you know, how would I explain that? 00:09:39.201 --> 00:09:44.441 And I think what I like about a flow chart is that the enormity of our 00:09:44.441 --> 00:09:47.241 choices that there are, you know, it's a little bit existentialist. 00:09:48.706 --> 00:09:49.426 Oh my gosh. 00:09:49.426 --> 00:09:53.956 You know, all this kind of thing that you could do just to understand 00:09:54.376 --> 00:09:55.606 a very straightforward sentence. 00:09:55.846 --> 00:09:59.986 Elizabeth: Well, you're visualizing the labor that you're doing on 00:10:00.746 --> 00:10:04.196 behalf of like, your access, right? 00:10:04.936 --> 00:10:07.476 There's that, this is everything that Olivia's doing- 00:10:07.496 --> 00:10:07.586 Olivia: Right-. 00:10:07.586 --> 00:10:08.966 Elizabeth: Can you please meet Olivia like a quarter of the way? 00:10:08.966 --> 00:10:09.806 Olivia: Yeah, exactly. 00:10:10.266 --> 00:10:12.076 Elizabeth: Here we've reached 00:10:12.296 --> 00:10:18.177 another question which would be, you know, how are technology and 00:10:18.177 --> 00:10:18.926 access kind of working in your piece? 00:10:18.926 --> 00:10:22.926 Because you're mentioning so many different dimensions, right. 00:10:22.926 --> 00:10:24.156 Visual stuff, the auditory stuff 00:10:24.156 --> 00:10:24.246 Olivia: Um. 00:10:24.246 --> 00:10:28.916 Well, I, I thought, in the beginning of the residency, you know, I thought 00:10:28.946 --> 00:10:34.406 it was about designing, of utilizing technology as part of the piece, 00:10:34.826 --> 00:10:40.896 um, the platform of the piece, um, but I'm just not super (relevant). 00:10:41.136 --> 00:10:44.016 My brain doesn't work very well in programming or coding. 00:10:44.366 --> 00:10:48.696 But, um, as I'm going through it, and I tend to just kind of tell the story 00:10:48.696 --> 00:10:52.626 in the medium that I'm most familiar with, which tends to be video and 00:10:52.626 --> 00:10:56.176 editing and masking and layering. 00:10:56.446 --> 00:10:59.946 And then, but then I find that, you know, ultimately the material 00:10:59.976 --> 00:11:04.066 or the, the, the concept, uh, came from my digital experiences. 00:11:04.296 --> 00:11:09.396 And, and I love the fact that we have, um, we have, uh, technology that can 00:11:09.406 --> 00:11:12.926 help us have captions or texting, um. 00:11:13.261 --> 00:11:16.661 But, um, in lots of ways, these can go wrong. 00:11:17.171 --> 00:11:20.521 There are artificial (implications), misinterpret things, and there's a 00:11:20.521 --> 00:11:22.861 certain bizarre humor in that as well. 00:11:23.831 --> 00:11:23.891 Yeah. 00:11:24.921 --> 00:11:36.101 Daragh: Can you talk a little bit about your experience in the residency 00:11:36.141 --> 00:11:39.701 and your process, and you know, some of how you work with disobedience. 00:11:39.701 --> 00:11:40.191 Can you reflect what changed for you in the way that you work with technology 00:11:40.191 --> 00:11:40.301 or kind of access as a result of the residency, and what stayed the same? 00:11:40.301 --> 00:11:47.396 Olivia: Um, I'll say that this is the first time I've worked 00:11:47.396 --> 00:11:54.796 with sound, as a, sound creator. 00:11:55.066 --> 00:11:59.596 Um, I am very comfortable with 00:11:59.611 --> 00:12:06.821 visual tool creator, in which I find bits and pieces of things and I imagine a 00:12:06.821 --> 00:12:09.781 relationship between these kind of pieces. 00:12:10.421 --> 00:12:16.761 And, um, but, I'm thinking, hm, so much of this is really about sound, and I 00:12:16.821 --> 00:12:24.221 think my, so this project gives me this kind of, um, permission to let myself, 00:12:25.221 --> 00:12:27.296 be an abject failure in sound editing. 00:12:27.816 --> 00:12:30.906 And so, um, yeah. 00:12:31.016 --> 00:12:35.886 So, I, I, and I'm not very well versed in technology in terms 00:12:35.886 --> 00:12:37.456 of hooking things together. 00:12:37.846 --> 00:12:44.441 But, um, but I was able to, uh, Give some of that, uh, cede some of that, 00:12:44.471 --> 00:12:47.751 that control to a collaborator. 00:12:48.231 --> 00:12:51.971 Um, and sometimes the collaborator might misinterpret you, but that 00:12:51.971 --> 00:12:56.591 could be a gift in taking a project or concept in a, in a different way. 00:12:57.351 --> 00:13:00.271 Open up things that you've not considered or explained before. 00:13:00.631 --> 00:13:04.441 So in this case, I, uh, actually ventured into haptics. 00:13:04.581 --> 00:13:06.941 Um, an actual feeling of the thing. 00:13:07.251 --> 00:13:12.011 And it really ties back into my experience with playing the piano, playing an 00:13:12.051 --> 00:13:14.051 instrument, because I have to go into it. 00:13:14.051 --> 00:13:18.781 And, uh, the mistake that's happened in this, I think, is really helping 00:13:18.781 --> 00:13:21.281 to kind of shape, Oh, wow, there's more things to explore with that. 00:13:22.471 --> 00:13:27.831 Daragh: And what do you think the impact on your creative practice has 00:13:27.901 --> 00:13:31.391 been through this kind of process over the last year and a bit? 00:13:31.721 --> 00:13:33.141 Olivia: Impact as a, uh, 00:13:35.111 --> 00:13:35.401 Daragh: Has 00:13:35.411 --> 00:13:39.761 something kind of shifted for you in a big way in how you might work now or 00:13:39.761 --> 00:13:40.481 in the future? 00:13:40.511 --> 00:13:43.671 Elizabeth: Or more confident in something you're getting into or 00:13:43.671 --> 00:13:45.071 new directions you're exploring? 00:13:46.551 --> 00:13:49.101 Olivia: Yeah, it's been very exciting, yes. 00:13:49.191 --> 00:13:56.201 Um, it, it, I think it's exciting in solidifying my, um, my, uh, 00:13:56.631 --> 00:14:00.931 direction of delving into sound. 00:14:01.911 --> 00:14:07.291 I think before I was very apprehensive about working with sound because um, my 00:14:08.481 --> 00:14:14.616 thinking that, well, how can I write the sound if I don't experience it very well? 00:14:14.976 --> 00:14:19.106 But then that's exactly a unique voice in how I am interpreting. 00:14:19.296 --> 00:14:21.946 So I think I had a conversation with someone about, um,access, 00:14:23.076 --> 00:14:25.506 kind of like a rush along story. 00:14:26.006 --> 00:14:30.946 Um, because everybody's sort of trying to arrive at this kind 00:14:30.996 --> 00:14:34.056 of truth from different angles. 00:14:34.776 --> 00:14:36.366 And now I think about that. 00:14:36.366 --> 00:14:44.241 I think yeah, in all my, my, my terrible sound glory, this is how I feel in sound. 00:14:44.661 --> 00:14:44.881 So, 00:14:46.381 --> 00:14:51.401 Elizabeth: I love this, like the Rashoman, permission to be an abject failure 00:14:51.401 --> 00:14:53.221 [Olivia laughs] (inaudible) forever 00:14:53.651 --> 00:14:59.911 I'm curious too, like, if your relationships to your deafness and the 00:14:59.911 --> 00:15:03.221 disability community, if any of that has changed over the course of the incubator. 00:15:03.251 --> 00:15:04.231 Olivia: Oh, absolutely. 00:15:04.401 --> 00:15:11.821 Um, because I, I, my very well-meaning family has tried to, uh, shield 00:15:11.841 --> 00:15:16.701 me, really, from what they perceive is, is a kind of discrimination, 00:15:16.811 --> 00:15:22.581 an ableist, kind of majority toward, um, disabled experiences. 00:15:22.971 --> 00:15:30.011 Um, so the, a lot about the disabled community and, and how they, they 00:15:30.016 --> 00:15:32.471 address their, their ways of navigating. 00:15:32.471 --> 00:15:36.431 So I, I just didn't know, you know, and this has opened my eyes to 00:15:36.431 --> 00:15:38.441 so many channels and communities. 00:15:38.441 --> 00:15:44.436 And um, yeah and being less apologetic, I think. 00:15:45.656 --> 00:15:50.396 So maybe part of the flowchart is also kind of about being less apologetic, 00:15:50.996 --> 00:15:52.611 about, I'm sorry, can you say that again? 00:15:52.611 --> 00:15:55.291 Look, there's a lot of stuff I have to deal with. 00:15:55.291 --> 00:15:57.431 Help me out and meet me halfway. 00:15:59.461 --> 00:16:01.301 Elizabeth: You were just talking about gestures and everything 00:16:01.301 --> 00:16:04.421 and the amount of space that you take up in those two examples. 00:16:04.541 --> 00:16:05.001 Glorious. 00:16:05.041 --> 00:16:10.391 [Olivia laughing] You just proved your point of the artwork in that moment. 00:16:10.391 --> 00:16:10.921 It's so great. 00:16:11.711 --> 00:16:12.671 Do you have more you want to add? 00:16:15.101 --> 00:16:17.571 Daragh: Like this idea of the conversations that you were able to 00:16:17.581 --> 00:16:18.751 have through the rest of the year. 00:16:18.851 --> 00:16:22.611 Are there other ones that like stand out as really kind of meaningful or 00:16:22.611 --> 00:16:26.861 resonant to you in the ways that you think about your work, um your relationship 00:16:26.861 --> 00:16:29.321 to kind of access or disability? 00:16:29.651 --> 00:16:32.471 Like what, what else kind of happened in the process, either with the 00:16:32.471 --> 00:16:35.861 cohorts or with the communities around the cohort that were 00:16:35.861 --> 00:16:37.211 really kind of memorable for you? 00:16:37.431 --> 00:16:38.731 Elizabeth: Or residency (inaudible)?? 00:16:38.921 --> 00:16:39.071 Daragh: Yeah. 00:16:40.181 --> 00:16:45.851 Olivia: Um, I think that the group meetings have been, um, really 00:16:45.851 --> 00:16:51.771 eye-opening, um, because each cohort comes from a different, different disability 00:16:51.971 --> 00:16:58.551 experience, and also, um, getting a better understanding about the hurdles that 00:16:58.551 --> 00:17:03.231 they face, you know, and it gives you a sense of humility, humility as well. 00:17:03.621 --> 00:17:09.411 Um, and so, and also working with Vanessa and, and, uh, Lindsay and stuff. 00:17:09.411 --> 00:17:13.521 Well, you know, as you design this project, rather than just tacking 00:17:13.531 --> 00:17:17.351 on accessibility as the final stage, you know, it's something that you 00:17:17.371 --> 00:17:18.841 think about from the very beginning. 00:17:19.696 --> 00:17:24.756 So, um, I think that's kind of where I started having this, this 00:17:24.786 --> 00:17:31.246 kind of, um, um, parallel, no, analogy to the Russian Rollin story. 00:17:31.706 --> 00:17:36.256 So I think that really helped me accept some of that ambiguity 00:17:36.286 --> 00:17:37.786 of the experiences too. 00:17:38.366 --> 00:17:43.766 And I think that's also really, um, given me another freedom to, um, to really 00:17:43.766 --> 00:17:47.956 delve into sound and maybe compose sound. 00:17:49.266 --> 00:17:53.666 Even though I have no, um, composition, um, training. 00:17:53.686 --> 00:17:55.166 Elizabeth: You have permission to be an abject failure. 00:17:55.226 --> 00:17:55.586 Olivia: Exactly. 00:17:56.046 --> 00:17:56.416 Exactly. 00:17:56.696 --> 00:17:57.826 Abject sound failure. 00:17:57.936 --> 00:17:58.846 [all laughing] 00:17:59.416 --> 00:18:00.666 Elizabeth: oh my gosh. 00:18:01.676 --> 00:18:02.136 That's so great. 00:18:02.166 --> 00:18:08.461 I'm wondering if you have a failure that was really important to the success. 00:18:11.151 --> 00:18:12.141 Olivia: Well, [laughing] 00:18:13.631 --> 00:18:15.051 we had a failure this morning. 00:18:18.786 --> 00:18:24.851 Well, you know, um, because I came into this, um, the, the haptic element of 00:18:25.001 --> 00:18:31.756 it is, is a technical, um, exercise that I have not had any experience in. 00:18:32.176 --> 00:18:35.636 And it was also part of the process of a collaborator that, a 00:18:35.636 --> 00:18:38.146 collaboration that just went belly up. 00:18:38.426 --> 00:18:43.216 So originally the, um, the collaborator who was going to program a different 00:18:43.216 --> 00:18:45.976 kind of experience just bailed out. 00:18:45.976 --> 00:18:47.266 I was like, oh gosh, okay. 00:18:47.266 --> 00:18:50.476 So two months ago I had to come up with a plan B. 00:18:50.706 --> 00:18:55.856 And it was a much simplified version of, uh, the first plan, uh, which I 00:18:55.926 --> 00:18:57.126 thought would be very straightforward. 00:18:57.126 --> 00:19:01.186 [laughing] And it turned out to be anything but straightforward, you know, 00:19:01.236 --> 00:19:05.496 because of all the syncing of things that I'm not going to bore anybody with. 00:19:05.796 --> 00:19:11.116 So, uh, really, the whole week was all about figuring out technically 00:19:11.136 --> 00:19:13.936 how to make my, um, my idea work. 00:19:14.786 --> 00:19:22.211 And, um, in the end, I took different teams of, uh, like, to audio 00:19:22.311 --> 00:19:26.201 specialists, and so they seem to have found the problem yesterday. 00:19:26.431 --> 00:19:31.911 And the irony here is that we are trying to, um, make two sounds in 00:19:31.911 --> 00:19:37.491 mono, because the world thinks that we hear in stereo, but we wanted to have, 00:19:37.511 --> 00:19:43.146 um, the audio in, um, right channel and the haptic over the left channel. 00:19:43.456 --> 00:19:49.806 But in the end, um, it was the network box that was putting it into stereo because it 00:19:49.816 --> 00:19:52.036 thinks that you automatically want stereo. 00:19:52.236 --> 00:19:55.406 So the equipment was really working against us. 00:19:55.861 --> 00:19:58.521 So, one of the specialists figured it out, so we changed that out. 00:19:59.551 --> 00:19:59.701 Yay! 00:19:59.701 --> 00:20:02.791 We figured it out last day, this morning, before it was wrecking again. 00:20:04.001 --> 00:20:08.011 So, um, and in the end it figured, it turned out that one 00:20:08.141 --> 00:20:09.401 of the equipment had burned out. 00:20:09.641 --> 00:20:13.111 So, but luckily I had an extra one, and I put that back in. 00:20:13.501 --> 00:20:17.211 And so, you know, there's a lot of technical details about the power 00:20:17.211 --> 00:20:19.581 and numbers, and, so there you go. 00:20:20.411 --> 00:20:20.841 Elizabeth: I, 00:20:20.971 --> 00:20:23.756 but I love it though, because of that sense of like, always trying to be 00:20:23.756 --> 00:20:25.366 prepared and getting used to failure. 00:20:25.716 --> 00:20:25.856 Olivia: Right. 00:20:25.876 --> 00:20:27.926 Elizabeth: My thumbs up for the disability experience. 00:20:27.949 --> 00:20:28.938 Olivia: It is. 00:20:28.938 --> 00:20:29.926 It is. 00:20:30.706 --> 00:20:34.766 Elizabeth: I'm really curious, like, if you could picture, maybe even 00:20:34.936 --> 00:20:37.906 yourself, when you first started being like, I think I'm an artist. 00:20:37.906 --> 00:20:39.786 I think I'm going to make art. 00:20:40.386 --> 00:20:41.596 What would you want to tell her? 00:20:44.556 --> 00:20:45.106 Olivia: Say that again. 00:20:45.106 --> 00:20:45.666 The question was, if 00:20:45.906 --> 00:20:46.516 I really pushed. 00:20:46.516 --> 00:20:49.506 Elizabeth: If you kind of picture yourself at the age that you were when you were 00:20:49.506 --> 00:20:50.716 first, like, I think I'm an artist. 00:20:50.716 --> 00:20:51.976 I think I want to do art. 00:20:52.046 --> 00:20:52.836 This is what I'm going to do. 00:20:53.616 --> 00:20:56.296 What would you want to tell that version of yourself? 00:20:57.656 --> 00:21:00.966 Like, what do you know now that you wish you knew then? 00:21:00.966 --> 00:21:02.806 [Olivia laughing] 00:21:02.806 --> 00:21:05.726 Olivia: You know, the thing is, I never knew I was an artist, I guess. 00:21:06.336 --> 00:21:09.096 Or I started making art before knowing that I was an artist. 00:21:09.726 --> 00:21:10.836 And, um, 00:21:10.866 --> 00:21:15.926 gosh [laughing] 00:21:17.056 --> 00:21:22.366 Um, honestly, that takes some thinking. 00:21:22.366 --> 00:21:27.716 Elizabeth: Maybe just to be like, abject failure is fine. 00:21:28.296 --> 00:21:28.466 Olivia: Yes. 00:21:29.116 --> 00:21:34.066 I think more and more is like allowing myself to be, you know, be a little 00:21:35.874 --> 00:21:36.658 more fearless. 00:21:36.658 --> 00:21:37.812 Daragh: That was great. 00:21:37.942 --> 00:21:39.992 Elizabeth: I asked you 00:21:39.992 --> 00:21:40.622 a million questions. 00:21:40.922 --> 00:21:41.772 That was wonderful. 00:21:41.842 --> 00:21:43.252 Anything else you would want to say? 00:21:44.892 --> 00:21:46.531 Olivia: Nah, I always talk too much. 00:21:47.221 --> 00:21:47.611 [all laughing] 00:21:47.701 --> 00:21:54.261 I don't know if that's a lot of, like, it just branches off to other things? 00:21:54.581 --> 00:21:55.361 Elizabeth: No, no, that was 00:21:55.481 --> 00:21:55.741 great. 00:21:57.291 --> 00:21:58.041 Daragh: That was great.