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john roach

This frog's lungs act like noise cancelling headphones - 0 views

theconversation.com/e-cancelling-headphones-156436

nature biology frogs

shared by john roach on 14 Mar 21 - No Cached
  • john roach on 14 Mar 21
     
    "For many species of frogs, the auditory space is just as crowded as in our pre-pandemic cocktail parties. When male frogs call out, they are sharing space with thousands of other frogs - from their own and different species - each also calling at the same time. Within this cacophony of croaks, the female frogs must make the important choice of finding the right male for mating based on the quality of his call."
john roach

Henrik Håkansson | Isabella Stewart Gardner Museum - 0 views

www.gardnermuseum.org/...hakansson-henrik

environment ecology nature acoustic ecology

shared by john roach on 04 Nov 23 - No Cached
  • john roach on 04 Nov 23
     
    "Henrik Håkansson (b. 1968 Sweden) devotes his work to studying the complex connections between humans and nature. He carefully constructs environmental experiments that ask participants to explore their impact on the environment that surrounds them, such as in the installation Frog For e.s.t. (eternal sonic trance) (1995). This piece consisted of a room filled with inflatable pools, humidifiers, insects, frogs, strobe lights, and a DJ mixing techno music on site. Projects like Frog For e.s.t. examine the intrusion of human artifice on the environment: what happens when we attempt to recreate delicate ecological systems? What are the effects of human-made sounds replacing the natural soundscape?"
john roach

The origins of acoustic communication in vertebrates | Nature Communications - 0 views

www.nature.com/...s41467-020-14356-3

nature animals communication

shared by john roach on 07 Feb 20 - No Cached
  • john roach on 07 Feb 20
     
    "Acoustic communication is crucial to humans and many other tetrapods, including birds, frogs, crocodilians, and mammals. However, large-scale patterns in its evolution are largely unstudied. Here, we address several fundamental questions about the origins of acoustic communication in terrestrial vertebrates (tetrapods), using phylogenetic methods."
john roach

Why this wildlife expert is making his archive public - BBC News - 0 views

www.bbc.com/...entertainment-arts-59404975

sounds biodiversity acoustic ecology ecology field recording

shared by john roach on 05 Dec 21 - No Cached
  • john roach on 05 Dec 21
     
    "Capturing just 20 seconds of a songbird's chirrup, or an elk's bugle, or a kangaroo's chortle often requires hours of stillness and solitude. It's a craft that Birmingham-born sound recordist Martyn Stewart has perfected over the last 55 years. In that time, he's built up one of the largest private collections of natural sound in the world. Comprising 30,000 hours of material, it includes recordings of 3,500 bird species, alongside countless mammals, insects, amphibians and reptiles, as well as soundscapes of the Serengeti, the Arctic and Chernobyl, 10 years after the nuclear reactor meltdown. At least four of the species he's recorded are now extinct in the wild, including the northern white rhinoceros and the Panamanian tree frog."
john roach

Return to Archive | Matmos - 0 views

matmos.bandcamp.com/...return-to-archive

archive media music found plunderphonics sampling

shared by john roach on 13 Nov 23 - No Cached
  • john roach on 13 Nov 23
     
    "In 1948, Moses Asch founded Folkways Records with a self-proclaimed mandate to record the sounds of the entire world. From the Sounds of North American Frogs to Speech After the Removal of the Larynx, Folkways documented the audible nooks and crannies of existence on hundreds of LPs produced by field recordists, scientists, and experimentalists probing the margins of the human soundscape. Seventy-five years later, electronic music duo Matmos have diced, looped, stretched, and recontextualized these recordings on their new album Return to Archive, which was assembled entirely from the so-called non-musical sounds released on Folkways. On just the album's first track, dolphins, beetles, telephones, humans stretching the limits of their vocal cords, a shortwave radio, and metal balers co-mingle in a fantasia of sound both everyday and extraordinary. Each track on Return to Archive morphs its source material into something completely unexpected, honoring and expanding on Folkways' legacy of sonic exploration. Featuring Evicshen and Aaron Dilloway."
josieholtzman

francisco lópez [ essays // environmental sound matter ] - 0 views

www.franciscolopez.net/env.html

acousmatic listening field recording

shared by josieholtzman on 23 Apr 13 - Cached
  • The birdsong we hear in the forest is as much a consequence of the bird as of the trees or the forest floor. If we are really listening, the topography, the degree of humidity of the air or the type of materials in the topsoil are as essential and definitory as the sound-producing animals that inhabit a certain space.
  • B. Krause to the proposal of a 'niche hypothesis' (3, 4, 5) in which different aural niches are basically defined in terms of frequency bands of the sound spectrum that are occupied by different species.
  • upon the explicit intention of expanding classical bioacoustics from an auto-ecological (single-species) to a more systemic perspective, considering assemblages of sound-producing animal species at an ecosystem level.
  • ...31 more annotations...
  • appraisal of other -sonic- components that are not reductible to the former. As soon as the call is in the air, it doesn't belong to the frog that produced it anymore.
  • No matter how good they can be, recordings cannot replace the 'real' experience.
  • Different microphones 'hear' so differently that they can be considered as a first transformational step with more dramatic consequences than, for example, a further re-equalization of the recordings in the studio. Even although we don't substract or add anything we cannot avoid having a version of what we consider as reality.
  • Although I appreciate very much the multitude of new sound nuances and the 'spaceness' provided by these technological developments, I don't have a special interest in pursuing 'realism'. Moreover, I believe these techniques actually work through hyper-realism
  • Now that we have digital recording technology (with all its concomitant sound quality improvements) we can realize more straightforwardly that the microphones are -they always have been- our basic interfaces in our attempt at aprehending the sonic world around us, and also that they are non-neutral interfaces.
  • the armchair environmental movement'
  • There is another seemingly unavoidable obstacle in this attempt at portraying aural reality: sound editing. Whereas the 'microphone interface' transfigures the spatial and material characteristics of sound, editing affects its temporality.
  • As I see it, this is a futile attempt to reproduce the world, that tends to become a kind of commodity directed to sofisticated entertainment or other forms of pragmatism. In its essence, a modern consequence of the same kind of mentality that long ago led to the creation of zoos.
  • We are much less inert for transciption and reproduction than the machines we have supposedly invented for these purposes. Compared to a microphone, we can either have a much more striking perception of such a human sonic intrusion or not perceive it at all.
  • Do we always realize that there's some distant traffic noise when our perception is focused on an insect call?
  • I don't believe in such a thing as an 'objective' aprehension of the sonic realiy
  • Not only do different people listen differently, but also the very temporality of our presence in a place is a form of editing.
  • Our idea of the sonic realiy, even our fantasy about it, is the sonic reality each one of us has.
  • I claim for the right to be 'unrealistic'
  • In the case of the 'Acoustic Ecology movement', although the scope of its activities is larger and there is a greater focus on descriptive aspects of sound itself (see, e.g., ref. 18), its approach essentially relies upon a representational / relational conception, sometimes also leading to 'encourage listeners to visit the place' (19).
  • I'm thus straightforwardly attaching to the original 'sound object' concept of P. Schaeffer and his idea of 'reduced listening'
  • The richness of this sound matter in nature is astonishing, but to appreciate it in depth we have to face the challenge of profound listening. We have to shift the focus of our attention and understanding from representation to being
  • When the representational / relational level is emphasized, sounds acquire a restricted meaning or a goal, and this inner world is dissipated.
  • Environmental acousmatics. The hidden cicada paradox Acousmatics, or the rupture of the visual cause-effect connection between the sound sources and the sounds themselves (22), can contribute significantly to the 'blindness' of profound listening. La Selva, as most tropical rain forests, constitutes a strong paradigm of something we could call 'environmental acousmatics'.
  • What I find remarkably striking is how the comprehension of virtually all approaches to nature sound recording is so rarely referred to the sonic matter they are supposedly dealing with, but rather to whatever other non-sonic elements of the experience of the -thus documented- place.
  • In my conception, the essence of sound recording is not that of documenting or representing a much richer and more significant world, but a way to focus on and access the inner world of sounds.
  • What I'm defending here is the transcendental dimension of the sound matter by itself.
  • A non-bucolic broad-band world Another widespread conception about nature sound environments regards them as 'quiet places', peaceful islands of quietude in a sea of rushing, noisy man-driven habitats.
  • As I see it, this certainly contributes to expand our aural understanding of nature, not denying quietude, but embracing a more complete conception
  • when our listening move away from any pragmatic representational 'use', and I claim for the right to do so with freedom (28).
  • I also defend the preservation and enhancement of the diversity of man-made sound environments and devices. The value we assign to sound environments is a complex issue we shouldn't simplify; under some circumstances, nature can also be considered as an intrusion in environments dominated by man-made sounds. In this sense, my approach is as futurist as it is environmentalist, or, in broader terms, independent of these categorizations.
  • I think it's a sad simplification to restrict ourselves to this traditional concept to 'find' music in nature.
  • I don't subscribe the coupling of nature to these schemes, by way of -for example- a search for melodic patterns, comparisons between animal sounds and musical instruments, or 'complementing' nature sounds with 'musical' ones (5, 25, 26). To me, a waterfall is as musical as a birdsong.
  • music is an aesthetic (in its widest sense) perception / understanding / conception of sound. It's our decision -subjective, intentional, non-universal, not necessarily permanent- what converts nature sounds into music.
  • sonic homogeneization, thus pursuing the conservation of sound diversity in the world.
  • To me, attaining this musical state requires a profound listening, an immersion into the inside of the sound matter.
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