Acoustic Mirror

"It occurred to you to consider that I might be lord and master of many sources of income; but I am..."

Mon, 20 May 2013 12:37:46 +0200

“It occurred to you to consider that I might be lord and master of many sources of income; but I am compelled to oppose, courteously but decisively, this belief and and all such suppositions, and to tell the simple unadorned truth, and this truth is that I am extremely free from wealth, but on the other hand, laden with every sort of poverty, as you might be so kind as to write in your notebook. On Sundays I may not allow myself to be seen on the streets, for I have no Sunday clothes. In my steady and thrifty way of life I am like a field mouse.”

- Robert Walser, The Walk (via panoramicchrestomathy)

magneticsignals: Here are some of the graphical representations...

Tue, 14 May 2013 10:30:32 +0200

magneticsignals:

Here are some of the graphical representations of what visitors to my installation A Machine To Listen To The Sky were hearing in the VLF band.

You can find more information about the event on the American Museums website - who very kindly asked me to write a blog summing up the day and installation: A Machine To Listen To The Sky - A Day Of Listening To Natural Radio And The Electromagnetic Spectrum

continuo-docs: Endre Tót - Gladness Writings 1973–1976, artist...

Tue, 14 May 2013 10:30:17 +0200

continuo-docs:

Endre Tót - Gladness Writings 1973–1976, artist book published by Yellow Now, Liège, Belgium, 1977 (from personal collection).

soundisall: 4’33 in an inner courtyard, little rain, SD-702,...

Mon, 13 May 2013 19:40:50 +0200

soundisall:

4’33 in an inner courtyard, little rain, SD-702, DPA 4060 somehow binaural and an umbrella.

volatil: ToqueABankia.mp3 [+]

Thu, 09 May 2013 18:02:07 +0200

volatil:

ToqueABankia.mp3 [+]

#RRS: Anónimo Paisaje ideológico-sonoro del Museo Reina Sofía

Thu, 09 May 2013 10:53:41 +0200

Entre los días 6 y 7 de julio de 2012 se realizó la siguiente pregunta a trabajadorxs del Museo Reina Sofía, que preliminarmente habían aceptado responder:

En tiempos de crisis económica profunda como la que se está viviendo en estos momentos, ¿qué crees que puede ofrecer el arte contemporáneo?

Los sonidos de las respuestas recogidas son presentadas aquí en un solo archivo de audio, sin edición de contenido y en el orden cronológico en que fueron realizadas.

Previamente se aclaró a los participantes que las respuestas serían presentadas de manera anónima mediante un procesamiento del tono de la voz con Auto-Tune, un efecto muy utilizado en la industria musical.

Con este procesamiento se ha pretendido dificultar el reconocimiento del género de las voces y su consecuente identificación.

Del mismo modo, pero sin alterar el contenido y ordenadas en un bloque continuo, se presentan las transcripciones de las respuestas en el pdf descargable.

Con esto se ha querido acentuar aún más el anonimato de las voces, de modo que no representen su cargo institucional o su propia persona. Teniendo en cuenta la especificidad y posibilidades del medio en el que se presentan, estas opiniones dejan de ser individuales y se convierten en material de análisis. De esta manera, el oyente pueda percibir la complejidad y variedad ideológica que hay dentro de esta institución, así como algunos de los problemas y limitaciones que el arte contemporáneo tiene para responder a esta crisis.

mp3

pdf

The Theremin Electro Ensemble (a.k.a. the Electrio), circa 1932.

Tue, 07 May 2013 19:15:46 +0200

The Theremin Electro Ensemble (a.k.a. the Electrio), circa 1932.

Theremin Cello

Tue, 07 May 2013 19:13:09 +0200

The theremin cello was another of Leon Theremin’s early musical instruments. It uses a heretodyning circuit similar to those found in theremins to generate its tone. Unlike the theremin however, volume is controlled by a lever, and pitch is controlled by sliding your finger along the neck. This presses a metal strip onto a tightly wound coil within the neck, creating variation in the resonance of the pitch oscillator. Essentially, Leon Theremin created the first analog synthesizer with a ribbon controller! It was most notably used by Leopold Stokowski in the 1930’s.

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Терпситон

Tue, 07 May 2013 18:30:37 +0200

The terpsitone was an electronic musical instrument, invented by Léon Theremin, which consisted of a platform fitted with space-controlling antennae, through and around which a dancer would control the musical performance. By most accounts, the instrument was nearly impossible to control. Of the three instruments built, only the last one, made by Theremin in 1978 for Lydia Kavina (his grandniece), survives today. The instrument was named after the Greek muse of dance, Terpsichore (from the Greek words τέρπω, “delight”, and χoρός, “dance”).

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Ритмикон, 1932, 1960s

Tue, 07 May 2013 18:20:44 +0200

The Rhythmicon—also known as the Polyrhythmophone—was the world’s first electronic drum machine (or “rhythm machine,” the original term for devices of the type).

In 1930, the avant-garde American composer and musical theorist Henry Cowell commissioned Russian inventor Léon Theremin to create the remarkably innovative Rhythmicon. Cowell wanted an instrument with which to play compositions involving multiple rhythmic patterns impossible for one person to perform simultaneously on acoustic keyboard or percussion instruments. The invention, completed by Theremin in 1931, can produce up to sixteen different rhythms—a periodic base rhythm on a selected fundamental pitch and fifteen progressively more rapid rhythms, each associated with one of the ascending notes of the fundamental pitch’s overtone series. Like the overtone series itself, the rhythms follow an arithmetic progression, so that for every single beat of the fundamental, the first overtone (if played) beats twice, the second overtone beats three times, and so forth. Using the device’s keyboard, each of the sixteen rhythms can be produced individually or in any combination. A seventeenth key permits optional syncopation. The instrument produces its percussion-like sound using a system, proposed by Cowell, that involves light being passed through radially indexed holes in a series of spinning ‘cogwheel’ discs before arriving at electric photoreceptors

Nicolas Slonimsky described its capabilities in 1933:

The rhythmicon can play triplets against quintuplets, or any other combination up to 16 notes in a group. The metrical index is associated ... with the corresponding frequence of vibrations.... Quintuplets are ... sounded on the fifth harmonic, nonuplets on the ninth harmonic, and so forth. A complete chord of sixteen notes presents sixteen rhythmical figures in sixteen harmonics within the range of four octaves. All sixteen notes coincide, with the beginning of each period, thus producing a synthetic harmonic series of tones.

Rhythmicon demonstration from Andrey Smirnov on Vimeo.

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Journal of Digital Imaging Artists: Hannah Hoch and the Dada Montage - Before Digital

Tue, 07 May 2013 13:01:00 +0200

Journal of Digital Imaging Artists: Hannah Hoch and the Dada Montage - Before Digital:

inthein-between:

Indian Dancer, 1930. Hannah Hoch.

Hannah Hoch (born Anna Therese Johanne Hoch on November 1, 1899) remains a well-known member of the Berlin Dada movement, and was among the first prominent artists to work with photo-montage techniques. Hoch attended the College of Arts and…

aqqindex: Bruno Ernst, Negative Sound, 1984

Tue, 07 May 2013 12:58:52 +0200

aqqindex:

Bruno Ernst, Negative Sound, 1984

magneticsignals: Yesterday, May 2nd, 2013 I performed my VLF...

Sat, 04 May 2013 13:34:42 +0200

A Machine To Listen To The Sky

Drawing the VLF band

as above, so below

magneticsignals:

Yesterday, May 2nd, 2013 I performed my VLF sound installation “A Machine To Listen To The Sky” at The American Museum in Britain, Bath, UK.

It was a perfect day and we received a number of beautiful VLF signals, spanning from spherics and tweaks to snatched radio conversation and even some sun activity.

Visitors to the exhibit were also asked to draw graphical representations of what they were hearing, it was interesting to see everyones different but somehow overlapping interpretations of VLF sound.

These are just a few of the pictures taken yesterday, more will come shortly along with audio.

Cuando, después de tener una palabras, se separaron, a los...

Sat, 04 May 2013 13:33:23 +0200

Cuando, después de tener una palabras, se separaron, a los pocos metros cada cual volvió la cabeza y siguió con la mirada al otro que se iba.

Robert Walser. Escrito a lápiz. Microgramas I (1924-1925)

Foto: Robert Walser 1942 por Carl Seelig

soundisall: A guide is explaining while a long train is passing...

Sat, 04 May 2013 12:20:18 +0200

soundisall:

A guide is explaining while a long train is passing by in the background. Sad coincidences.

Applauses in the middle are for an old guide.

Un guide donne des explications tandis qu’un long train passe en arrière-fond. Triste coïncidence.

Les applaudissements au milieu de la prise sont pour un vieux guide.

2014-04-27 #NoLaptopFest, La Fábrica de Pan, Málaga: Full Session

Thu, 02 May 2013 12:32:47 +0200

Segunda sesión del #NoLaptopFest, un encuentro de experimentación sonora en la que no se emplean laptops, tablets o smartphones. Este encuentro fue parte del 8 Festival de Cultura Libre de La Casa Invisible, en Málaga.

Participantes: El Sueño de Tesla, Las Flores No Lloran, Malaventura, Lunokhod, Alejandro Lévar, Ale García Bermúdez, Familiar.

Datos técnicos: Zoom H2n (M/S) @ 16/44.1

2013-04-27 #NoLaptopFest: «Nana para Damo Suzuki»

Thu, 02 May 2013 12:25:12 +0200

2013-04-27 #NoLaptopFest: «When We Were Godspeed You! Black Emperor»

Thu, 02 May 2013 12:23:06 +0200

Teslaradio: 1º de mayo retransmision Ruidos del trabajo y sonidos de resistencia

Wed, 01 May 2013 20:01:25 +0200

Teslaradio: 1º de mayo retransmision Ruidos del trabajo y sonidos de resistencia:

radiotesla:

Hoy desde Radiolibre y Teslaradio emitimos todas las propuestas recibidas en esta convocatoria a partir de las 14.00 hrs COT / 20.00 hrs CET

Con motivo del primero de mayo, proponemos una exploración sonora colaborativa y compartida del mundo del trabajo en todas sus concepciones –y…

GFR 062 Manuel Calurano | Sonic scenes from China

Mon, 29 Apr 2013 22:29:06 +0200

gfrnetlabel:

01. Sonic scenes from China (25:44)

Download

Sonic scenes from China is a soundscape based on unprocessed recordings made in Pingyao, Beijing, Leshan, kunmming and Lugu Lake (China)
during the summer of 2011. Most of the recordings have been made using binaural microphones. It is recommended the use of headphones.

+ info:

http://ia601702.us.archive.org/16/items/ManuelCalurano-SonicScenesFromChinagfr062/Gfr062_pdfBook.pdf

http://greenfieldrecordings.yolasite.com/artists.php