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"Intro from Jeff Towne: A common dilemma for independent producers is how to record professional-sounding narration outside of a studio. Building a sound booth means major construction: It's expensive, takes up space, and can be impractical for renters and those in a small homes. Are there affordable alternatives? Independent producer Yowei Shaw has tried a few options, and she's found a good solution for recording her voice tracks at home."

"I'm a huge fan of Joan La Barbara. Her LP The Voice Is The Original Instrument is one of my favorite documents of the 1970's NY avant-garde. La Barbara is a master of advanced vocal technique. In addition to her own remarkable creative output, she's had a long career working with many of the greatest names in avant-garde composition - John Cage, Robert Ashley, Morton Feldman, Philip Glass, Alvin Lucier, Gordon Mumma, David Behrman, David Tudor, and her husband Morton Subotnick. In my wanderings around the internet I've come across some of her wonderful scores and images of performances etc. I thought I'd pass them along. To see and learn more visit her website.   Voice Piece: One-Note Internal Resonance Investigation (1975)   Persistence of Memory (2009)   Circular Song (1975)   In the Shadow and Act of the Haunting Place (1995)   Performing in Berlin 1981   With Gordon Mumma and David Behrman in 1974   Working on Philip Glass' Einstein on the Beach in 1976   In 1974 with Philip Glass Ensemble with Dickie Landry, Richard Peck and Jon Gibson   With David Tudor, Paris 1974   With Dana Reitz and Phill Niblock (1975)   Playing chess with John Cage   Performing in 1976   Performing in 1976   In the studio with Morton Subotnick in 1984 Share this: TwitterFacebook Related at home with morton subotnick and joan la barbara January 29, 2016 Liked by 1 person joan la barbara's voice is the original instrument reissued by arc light editions May 4, 2016 Liked by 2 people on the early immersive music of joan la barbara, via mode records April 2, 2018 Liked by 2 people Post navigation Rising Tones Cross (Full Film)at home with morton subotnick and joan la barbara 2 thoughts on "the beauty of joan la barbara (scores and photographs)" Feminatronic February 9, 2016 at 8:46 pm Reblogged this on Feminatronic and commented: Something a little different as my Todays Discovery is this webs

"taracatá trabaja uses the traditional Argentinian folk song, Malambo del Hornerito, as a point of departure. It is an ode to the Argentinian national bird-the serially procreating, monogamous, and hard working hornero who builds his home from spit and dirt. Created through long-distance collaboration, the musical composition of taracatá trabaja is derived from the two onomatopoeias in the folk song: taracatá, characterizing the sound of laborious work (i.e. fields being plowed and nails being hammered) and chapalea, a verb evolving from the sound of squelching in mud. In taracatá trabaja, the hand drawn hornero rests on the porcelain surface along the music score, reminding one of the complexities of making a home, and of labor and its imbued ideas of meritocracy, while reclaiming pleasure, well being and dignity."

"The World According to Sound's listening series has breathed new life into stagnant stay-at-home days and given me a meditative tool for coping with ever creeping anxiety."

"The 68,338 fans that packed into CenturyLink Field set the world record Sept. 15 for noise at an outdoor sports stadium at 136.6 decibels, propelling the Seahawks to a rousing 29-3 home-opening win over NFC West rival San Francisco. The previous record was 131.76, set at a Turkish soccer club game March 8, 2011, and the loudest CenturyLink had ever been before was 112 decibels."

"Spring with Machine Age Noise No 1 was painted by Graves in 1957. It is among the first in a series of similar works all made that same year by Graves (see also Spring with Machine Age Noise No 3 1957, collection of Nancy Lassalle, New York; reproduced in Kass 1983, p.132). The artist had returned to his home in Woodway, Seattle, late in 1956 following a two-year period in the remote Irish countryside. He was upset to discover that the previously peaceful landscape was now regularly disrupted by the noise of construction work and of jet planes flying overhead. This was his motivation to paint a series of pictures in which the natural landscape was set in contrast to the disturbing vibrations of mechanical noise that now shattered the peacefulness of the scene. "

"Call Back Carousel is an audio time-travelogue, a slideshow of the mind's eye - projecting Kodachrome memories directly into the listeners' mind by means of sound alone. It is a way of travelling without ever having to leave the home. A vicarious vacation for the imagination. Pure audio escapism. Each episode is based on a found tape of a pre-recorded slideshow commentary. Most of these tapes were made by amateur tape recording enthusiasts and hobbyist photographers of the 60s and 70s. Their recorded commentaries would at one time have been used in conjunction with a sequence of 35mm slides but only the taped voices now remain. The recordings themselves come from my own archive of found reel-to-reel tapes that I have collected over the past twenty years."

"Participate in a listening experience with a stranger, from home: we are now walking next to each other, each of us recording this journey for two of you."

"In Ceará, Brazil, Narcelio Grud has created one of the more impressive alternate uses for street signs the Urban Guide for Alternate Use has seen, and we've seen plenty. Narcelio transforms street signs around the city in to public instruments as part of his Musica Livre project. "

"When Canadian astronaut Colonel Chris Hadfield was as far from home as a human can get, he used SoundCloud to share the sounds of the International Space Station and connect with everyone back on Earth."

"This paper will explore how the practice of soundwalking can be a tool for memory retrieval. I ask: How are memories created and remembered in the mind and felt within the body? What happens to our perception of self, home, and knowing as we move through spaces and places of significance?"

Andra McCartney is a multimedia soundscape artist, composer, performer and poet. Currently she is working on 'Soundwalking Home', a series of soundwalks through neighborhoods in which she has lived, and a soundscape documenting the Lachine Canal region, near Montreal. McCartney's installations have been shown at Maid in Cyberspace Encore (Montreal), KAAI Modern Fuel Gallery (Kingston, Ontario), miXing Women In Sound Art Festival (Chicago), The Kitchen ... Her writings have been published in Leonardo Music Journal, MusicWorks ... She has collaborated with visual artist P.S. Moore, championed the work of soundscape composer Hildegard Westerkamp, and she is actively involved with the World Forum for Acoustic Ecology. She lives in Montreal and is teaches at Concordia University, Montreal.

CRiSAP is a research centre dedicated to the exploration of the rich complexities of sound as an artistic practice. Our main aim is to to extend the development of the emerging disciplinary field of sound arts and to encourage the broadening and deepening of the discursive context in which sound arts is practised.

"it's been proven that the right background noise can spur creativity and keep you motivated as well as increasing your focus. The new kid on the block, Noisli, is the perfect tool to help get you more productive in the comfort of your own home."

"Video recorded using direct audio out (rather than microphone and speaker/amp). The sounds are produced by an electrochemical reaction between Aluminium, Copper and Salt water (NaCl), fed through a pre-amp after basic filtering via a capacitor and resistor. The originally inspiration for the electrochemical synthesiser was the webpage "Peculiar Sounds of Aluminium" by Nyle Steiner. home.earthlink.net/~lenyr/alsounds.htm"

""When I'm on location, it's a totally solitary activity. You put some headphones on, and at that moment, nobody can hear the world like you can." Chris Watson is talking to me over Skype from his home in Newcastle-upon-Tyne, explaining the details of a soon to be released smartphone app, which contains a cherry-picked collection of his sound recordings made as far back as the 1990s. Many originally appeared on CD (via Touch, who now also have an iPhone app), but Watson is enthusiastic about finding new formats such as this for his work. "The app is going to be used by individuals, and that means there's an individual at either end of the chain," he says. "I like the idea that wherever you are, you can drop into this environment." "

"The radiofrequency spectrum is at the heart of telecommunications, used by police, emergency personnel and public transport services, as well as the armed forces. Every day, this spectrum ensures the proper functioning of mobile phones and wireless devices. Seen as an essential resource by some and as a health hazard by others, the electromagnetic fields generated by radiofrequency spectrum activity have multiplied exponentially since humans first learned to harness electricity. In his Electrosmog series, Jean-Pierre Aubé searches out ambient radio frequency activity in the urban landscape of Montréal, which for Aubé forms a singular territory, characterized by its density in the city and by the political and economic issues that accompany it. Equipped with a radio, an antenna, and home-made software, the artist sweeps the titular spectrum of radio frequencies. Every tenth of a second, the device takes a snapshot of its readings - a measure of electromagnetic activity on a specific frequency. This information is then paired with images of Montréal, digitally altered by these same measurements, to create a "documentary in sound" of the city's spaces. Montréal, well-known to the artist after years of radiofrequency experiments here, is the eighth city in which Aubé has measured and visually presented this urban Electrosmog. Electrosmog, Montréal, 01.1 MHz - 144 MHz, 2012 Text from the CCA and Elektra - video abstract original length : 11 minutes - built with Processing"

"This paper will explore how the practice of soundwalking can be a tool for memory retrieval. I ask: How are memories created and remembered in the mind and felt within the body? What happens to our perception of self, home, and knowing as we move through spaces and places of significance? "

"Until the arrival of the phonograph nearly 140 years ago, the only way to have music in the home was to perform it. Royals and the wealthy supported composers and performers to provide entertainment in their manor houses and castles; their residences often featured music rooms, where instrumentalists were presented front and center, like artwork on display. Other abodes placed the musicians in a separate room or loft, acoustically connected to grand halls to provide discreet accompaniment for banquets and events. Oddly enough, that dichotomy-show of the music, or hide it-still exists, even in our modern, electronic era. "

"As If It Were The Last Time is a subtlemob about celebrating the present, about home, belonging and loss. A snapshot of the world around you, a chance to savour the moment, and make new connections with the people and the place surrounding you. This is no requiem, this a celebratory slow dance, a chance to present in the world, and to see it with fresh eyes."