The video Sounds of Ethnographic Experience by Sandra Teixeira focuses on the juxtaposition between animals, machines, and humans. A sonic contrast between animals and that of machines and humans underscores this ethnographic experience that the video explains using the appropriate images of each group. Though the video evinces of this unsettling contrast, the video argues that each of the ethnographic of the two films presented further exemplify an ontological equality. The images and sound of both films suggest this equality. Teixeira structures the video by presenting her argument in the beginning. Here she uses onscreen text. Following this, she shows various images that juxtapose with each other. The presentation of these two videographic elements demonstrates a sense of control of what the video wants the viewer to see.
Furthermore, in showing her argument in the beginning of the video, Teixeira wants the viewer to keep this in mind before viewing the following shots. Here, the video proposes the argument that machines, humans, and animals thrive in the ensuing environments shown in the following shots. Her argument suggests that the clashing of the visual and sonic components of the video create this sort of ontological equality. This, though, becomes more and more confusing to understand through the visual juxtapositions.
For instance, the first shot of the video consists of a snow-covered environment. This desolate place does not show any sort of human interaction. The following shot shows someone or something underwater. Immediately, a high angle shot returns to observing the previous environment. This modulation of environments becomes even more jarring. It is then here what the video dares to exemplify this chaotic environment driven by machine and human. Of course, this underwater chaos only becomes apparent once it is juxtaposed with the peaceful environment.
The following two shots show another kind of contrast. In the first shot, a group of sheep stands still on the snow. Immediately following this shot, a high angle shot shows a man cutting their fur off. This juxtaposition then showcases the first human interaction between humans and animals. Between these two shots, another modulation occurs. The video then creates some sort of pattern: it establishes a perceived tranquility in one shot; in another, it shows some sort of ensuing chaos. When these two kinds of shots are paired, a juxtaposition occurs, further suggesting that through this type of jarring visual modulation and the peaceful sounds that connect to one of the shots, one can understand this ontological equality.
Moreover, it is still not satisfying enough to explain this ontological equality by simply showcasing examples. It would have been easier to follow the video up to now if the video gave some sort of definition of this phrase. This phrase becomes a bit more clear in the following two shots. In the first shot, a group of fisherman use a machete to cut up the fish they catch. Following this shot, the previous high angle shows the sheep being groomed. It is here, then, where this visual modulation stands out in showing such jarring juxtapositions.
The following shots break this pattern described above. The first shot shows a man sleeping next to a tree. The next shot shows a man sitting inside a boat. The latter shot shows the man’s environment, the various food on the table. Here, the video showcases a new type of juxtaposition between human and human; however, each of the man’s environment differs. One suggests a much more calm and peaceful element of nature. The other represents a much more dark and chaotic atmosphere of the boat. It is also difficult to say with certainty that both men differ. In fact, they both sit in some sort of sedentary way.
Moreover, it is in this sedentary way that the video further showcases this ethnographic experience. Here, the two men are shown living within their own space. Their environment then juxtaposes their own idleness. The video then suggests that some sort of equality exists between human and nature, and human and human-made environment. It is interesting that the video showcases these kinds of shots, for it further creates a sense of oddity in a video full of jarring juxtapositions. Their sedentary position could act as a modulation. The previous shot shows the man sleeping; the following shot shows a different man awake. Perhaps, this is the juxtaposition that the video wants to present. Regardless, the video presents such shots to give a range of examples of this ethnographic experience.
Sounds of Ethnographic Experience
The video Sounds of Ethnographic Experience by Sandra Teixeira focuses on the juxtaposition between animals, machines, and humans. A sonic contrast between animals and that of machines and humans underscores this ethnographic experience that the video explains using the appropriate images of each group. Though the video evinces of this unsettling contrast, the video argues that each of the ethnographic of the two films presented further exemplify an ontological equality. The images and sound of both films suggest this equality. Teixeira structures the video by presenting her argument in the beginning. Here she uses onscreen text. Following this, she shows various images that juxtapose with each other. The presentation of these two videographic elements demonstrates a sense of control of what the video wants the viewer to see.
Furthermore, in showing her argument in the beginning of the video, Teixeira wants the viewer to keep this in mind before viewing the following shots. Here, the video proposes the argument that machines, humans, and animals thrive in the ensuing environments shown in the following shots. Her argument suggests that the clashing of the visual and sonic components of the video create this sort of ontological equality. This, though, becomes more and more confusing to understand through the visual juxtapositions.
For instance, the first shot of the video consists of a snow-covered environment. This desolate place does not show any sort of human interaction. The following shot shows someone or something underwater. Immediately, a high angle shot returns to observing the previous environment. This modulation of environments becomes even more jarring. It is then here what the video dares to exemplify this chaotic environment driven by machine and human. Of course, this underwater chaos only becomes apparent once it is juxtaposed with the peaceful environment.
The following two shots show another kind of contrast. In the first shot, a group of sheep stands still on the snow. Immediately following this shot, a high angle shot shows a man cutting their fur off. This juxtaposition then showcases the first human interaction between humans and animals. Between these two shots, another modulation occurs. The video then creates some sort of pattern: it establishes a perceived tranquility in one shot; in another, it shows some sort of ensuing chaos. When these two kinds of shots are paired, a juxtaposition occurs, further suggesting that through this type of jarring visual modulation and the peaceful sounds that connect to one of the shots, one can understand this ontological equality.
Moreover, it is still not satisfying enough to explain this ontological equality by simply showcasing examples. It would have been easier to follow the video up to now if the video gave some sort of definition of this phrase. This phrase becomes a bit more clear in the following two shots. In the first shot, a group of fisherman use a machete to cut up the fish they catch. Following this shot, the previous high angle shows the sheep being groomed. It is here, then, where this visual modulation stands out in showing such jarring juxtapositions.
The following shots break this pattern described above. The first shot shows a man sleeping next to a tree. The next shot shows a man sitting inside a boat. The latter shot shows the man’s environment, the various food on the table. Here, the video showcases a new type of juxtaposition between human and human; however, each of the man’s environment differs. One suggests a much more calm and peaceful element of nature. The other represents a much more dark and chaotic atmosphere of the boat. It is also difficult to say with certainty that both men differ. In fact, they both sit in some sort of sedentary way.
Moreover, it is in this sedentary way that the video further showcases this ethnographic experience. Here, the two men are shown living within their own space. Their environment then juxtaposes their own idleness. The video then suggests that some sort of equality exists between human and nature, and human and human-made environment. It is interesting that the video showcases these kinds of shots, for it further creates a sense of oddity in a video full of jarring juxtapositions. Their sedentary position could act as a modulation. The previous shot shows the man sleeping; the following shot shows a different man awake. Perhaps, this is the juxtaposition that the video wants to present. Regardless, the video presents such shots to give a range of examples of this ethnographic experience.
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