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Sonified (iphone and ipad app) - 0 views

www.sonifiedsite.com/index.html app music iphone ipad
shared by john roach on 03 Feb 13 - No Cached
  • john roach on 03 Feb 13
     
    iphone/ipad app that translates what the camera sees into sound using luma and chroma values.
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The World Listening Project - 0 views

www.worldlisteningproject.org field recording acoustic ecology
shared by john roach on 10 Feb 13 - Cached
  • john roach on 10 Feb 13
     
    THE WORLD LISTENING PROJECT (WLP) is a not-for-profit organization devoted to understanding the world and its natural environment, societies and cultures through the practices of listening and field recording.
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Sound and Pedagogy Forum « Sounding Out! - 0 views

soundstudiesblog.com/...sound-and-pedagogy-forum pedagogy
shared by john roach on 10 Feb 13 - No Cached
  • john roach on 10 Feb 13
     
    "Developed to explore the relationship between sound and learning, our fall forum on "Sound and Pedagogy" blends the thinking of our editors (Liana Silva), recruited guests (D. Travers Scott), and one of the winners of our recent Call For Posts (Jentery Sayers) to explore how listening impacts the writing process, the teachable moment, and the syllabus (and vice versa)."
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((audience)) | new contexts for sound art - 0 views

lrlx.wordpress.com sound art blog festival
shared by john roach on 19 Feb 13 - No Cached
  • john roach on 19 Feb 13
     
    "LISTEN, my heart takes place in a cinema-a room with no windows, a room dedicated to a magic screen. Tonight, these screens are dark, and we bring to you the sounds of the world outside. This is a cinema for the ear. "
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sonotype_play - 1 views

www.sonotype.com interactive typography
shared by john roach on 01 Mar 13 - No Cached
  • john roach on 01 Mar 13
     
    Interactive explorarion of sound and typography and letterforms
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NOISE 10 minutes trailer on Vimeo - 2 views

vimeo.com/33498652 noise power urban
shared by john roach on 24 Mar 13 - No Cached
  • john roach on 24 Mar 13
     
    Synopsis: this bitter-sweet comedy tells the story of a man who suffers from hyper-acoustic sensitivity, which makes his life in Tel Aviv, one of the noisiest urban locations on earth, a living hell. His quest to live in peace and quiet by politely asking neighbors for basic consideration, or by addressing the boisterous passing-by to re-consider the mere fact they are 'not alone in the world', or even by trying to plea to the authorities: Police and Municipality - or even worse: talking the law into his own hands: all means have proved nothing but his bitter impotency in the face of the irrepressible Israeli "noise-mania". So he decides to act. He constructs a special surveillance apparatus in order to monitor and control the invading street-neighbor-noise, and with the help of a "God-like" megaphone he takes control over the intruding street noise. His fantasy to silence also the noise within his own family life, turns co-existence with him unbearable. It doesn't take long before it becomes inevitable that he would have to pay the price.
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Staring at Silence | Red Bull Music Academy - 2 views

www.redbullmusicacademy.com/...staring-at-silence-feature noise silence music blog
shared by john roach on 04 Apr 13 - No Cached
  • john roach on 04 Apr 13
     
    "How do you go about listening to some of the quietest music ever recorded? Very carefully, writes Jeff Siegel."
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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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Zimoun - 60 medical infusion sets, water, fire, metal sheets 20 x 20 x 4 cm" (2013) by ... - 0 views

vimeo.com/66353816 noise installation sound art
shared by john roach on 18 May 13 - No Cached
  • john roach on 18 May 13
     
    "60 medical infusion sets, water, fire, metal sheets 20 x 20 x 4 cm", 2013 medical infusion sets, water, fire, metal sheets dimensions variable Installation view: Meetfactory Prague, Czech Republic. Curated by Karina Kottová and Daniel Vlcek. Project management by Ulf Kallscheidt. Project coordination by Venuse Tesnerová. Assisted by Ulf Kallscheidt, Florian Buerki and Anna Fach. Kindly supported by Pro Helvetia - Swiss Arts Council. Video courtesy of the artist.
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Acoustic levitation - YouTube - 1 views

www.youtube.com/watch acoustics science
shared by john roach on 29 May 13 - No Cached
  • john roach on 29 May 13
     
    "Scientists at Argonne National Laboratory have discovered a way to use sound waves to levitate individual droplets of solutions containing different pharmaceuticals. While the connection between levitation and drug development may not be immediately apparent, a special relationship emerges at the molecular level."
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Music for Forgotten Places - 3 views

www.musicforforgottenplaces.com music places urban
shared by john roach on 02 Jun 13 - No Cached
  • john roach on 02 Jun 13
     
    "Music for Forgotten Places sends city residents out into their neighborhoods on a strange journey of exploration and discovery. Located at various forgotten sites are small, hand-made wooden signs, each engraved with a title and a phone number. Upon discovering this mysterious object, explorers can call the number and hear a piece of music composed especially for that place."
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Why Listening Is So Much More Than Hearing - NYTimes.com - 2 views

www.nytimes.com/...so-much-more-than-hearing.html listening hearing science
shared by john roach on 20 Jul 13 - No Cached
  • john roach on 20 Jul 13
     
    ""The Universal Sense: How Hearing Shapes the Mind.""
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Bernie Krause: The voice of the natural world | Video on TED.com - 0 views

www.ted.com/...oice_of_the_natural_world.html listening science hearing nature
shared by john roach on 20 Jul 13 - No Cached
  • john roach on 20 Jul 13
     
    "Bernie Krause has been recording wild soundscapes -- the wind in the trees, the chirping of birds, the subtle sounds of insect larvae -- for 45 years. In that time, he has seen many environments radically altered by humans, sometimes even by practices thought to be environmentally safe. A surprising look at what we can learn through nature's symphonies, from the grunting of a sea anemone to the sad calls of a beaver in mourning. "
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BLDGBLOG: Alternative Inputs - 0 views

bldgblog.blogspot.com/...alternative-inputs.html science music instrument
shared by john roach on 24 Jul 13 - No Cached
  • john roach on 24 Jul 13
     
    "UK artist Ryan Jordan led a workshop earlier this summer in Montréal, building musical instruments out of geological circuit boards, an experiment in terrestrial instrumentation he calls "Derelict Electronics.""
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BLDGBLOG: Ground Sounds - 3 views

bldgblog.blogspot.com/...ground-sounds.html science music score mapping map maps
shared by john roach on 24 Jul 13 - No Cached
  • john roach on 24 Jul 13
     
    "Those of you sonically inclined might be interested in the latest weekend challenge from Marc Weidenbaum's Disquiet Junto project: "Read a map of the San Andreas Fault as if it were a graphic notation score," and then post the acoustic results to Soundcloud."
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BLDGBLOG: Geomedia - 1 views

bldgblog.blogspot.com/...geomedia.html science music record
shared by john roach on 24 Jul 13 - No Cached
  • john roach on 24 Jul 13
     
    An incredible example of what can be done with laser-cutting, Amanda Ghassaei's project "Laser Cut Record" features music inscribed directly into cut discs of maple wood, acrylic, and paper, resulting in lo-fi but playable records.
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