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Archive for May, 2010

30

May

Space Audio

Scritto da:Mauro Graziani @ 2010.05.30.22.57.03 — Archiviato in: Audio

A good site of “sounds of space” collected by U Iowa instruments on various spacecraft.

Here you can find many sounds “recorded” (remember that this are radio frequencies not audio frequencies) by Cassini, Voyagers and Galileo spacecrafts during the Jupiter and Saturn missions.

The site is Space Audio.

Here you can listen to the famous Cassini’s sound recorded near Saturn claimed to resemble to an alien voice if transposed one octave up preserving the duration:


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29

May

Minimal States

Scritto da:Mauro Graziani @ 2010.05.29.00.48.34 — Archiviato in: Confine
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Thomas Carter has yet another musical project called Minimal States, where he explores ambient soundscapes based on collected samples and field recordings.
Like A Photograph‘ is the first set of a trilogy that Thomas intends to release on test tube.

This first work is heavily based on samples taken from the well known Fm3 Buddha Machine and CC field recordings taken from the Quiet American website. With 15 minutes spent with each piece - ‘Circadian Rhythms’ and ‘Stereopsis’ - Minimal States embraces the full spectrum of landscape generative ambient in its true form.

The second album in the trilogy is ‘Liberty Hoax’. Firmly based in the urban, developed and political world, far from the timelessness of the forest and natural world of the first album, it examines the vast, densely populated spaces of the inner-city and the physical and cultural wastelands that surround it.

Moreover, the album is concerned with the place of the individual amongst the masses, and with the concept of identity itself in a world where companies and the State have ever-increasing powers to access and regulate personal data. The album questions whether personal freedom is still a priority for governments and legislators, or if it is now merely a glass wall, a façade, or a mirage that will vanish when approached

Download the first part here and the second here.

Excerpts:


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28

May

Metathreading

Scritto da:Mauro Graziani @ 2010.05.28.00.01.51 — Archiviato in: Confine

coverMatt’s (aka Craque) electronic music came to be regarded as a hybrid between edgy improv takes and deep IDM-ish grooves. Both languages come together through Matt’s electronics and form an intricate and complex maze of rhythms, beats and hypnotic grooves.
Metathreading is no exception. Matt took various free improvisation edits - named as ‘threads’ - and some other remixes - called ‘Stacks’ - based on a handful of selected ‘threads’ and put them all together. All this was done on a live setup without a laptop. Matt only used his own prepared instruments, with only the obvious edits (also very few) made after with the aid of software.

Download from Test Tube.

Some tracks:


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27

May

Backyard Mysteries

Scritto da:Mauro Graziani @ 2010.05.27.00.01.18 — Archiviato in: Confine

cover«Brian Ruskin is a Ph.D in Geology (Stratigraphy branch) and at the same time a musician and producer from Pittsburgh, USA. Science and Art very close together. The music he makes as Mental Health Consumer falls right in the middle of the Electronic genre, slightly danceable and upbeat variant, without loosing too much focus but admittedly keen on experimental ambient explorations. With his music, Brian tries to achieve that special balance between the calculated and the emotive side of the mind.

Such is ‘Backyard Mysteries’, an extremely interesting and uncompromising collection of tracks with a full range of soft pads, techno inspired beats and soothing soundscapes, but also retaining a very curious experimental ambient side, which will keep you interested all through the end.» - Pedro Leitão

Download from Test Tube.

Excerpts:

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26

May

Fluorinescence

Scritto da:Mauro Graziani @ 2010.05.26.21.49.50 — Archiviato in: Confine, Jazz

coverJustin Robert and Jeremy Powell are both enthusiast musicians that play live jazz for a living. Justin is a percussionist and likes to fiddle with analog synths, and Jeremy plays saxophone.
Both musicians love free jazz and improvisation, so one night they got together, Justin on synth and Jeremy on sax, and they put ‘Fluorinescence’ onto tape.

Twelve tracks lasting 65′ 20”. Download the whole album from Test Tube.

Excerpts:


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23

May

Silophone

Scritto da:Mauro Graziani @ 2010.05.23.17.01.24 — Archiviato in: Architettura, Audio

Silophone combines sound, architecture, and communication technologies to transform a significant landmark in the industrial cityscape of Montreal, Canada.

By telephone, or even the internet, they will send the sound of your choice echoing through the incredible acoustics of abandoned rusted halls and corridors of this imposing building.

Silo #5 is an abandoned grain storage facility in the port of Montréal. A quarter of a mile long and over twenty storeys high, it has a total capacity of five million bushels, or enough wheat to make 230 million loaves of bread. The building was constructed in several stages between 1903 and 1958. The newest part of the building was designed to last for generations, however due to changes in the global grain market and to the general trend of de-industrialization in North America at the end of the 20th century, the building became redundant less than forty years after its completion. Since 1994, Silo #5 has stood empty, and its fate has been hotly debated. The building is situated in one of Montréal’s oldest industrial districts, now rapidly being gentrified and renovated for high-tech commercial, luxury residential, and tourism/leisure industry uses.

The portion of the structure used by Silophone is constructed entirely of reinforced concrete, measures 200 metres long, 16 metres wide and approximately 45 metres at its highest point. The main section of the building is formed of approximately 115 vertical chambers, all 30 metres high and up to 8 metres in diameter. These tall parallel cylinders, whose form evokes the structure of an enormous organ, have exceptional acoustic properties: most notably, a stunning reverberation time of over 20 seconds. Anything played inside the Silo is euphonized, made beautiful, by the acoustics of the structure. All those who have entered have found it an overwhelming and unforgettable experience.

telephone access
Using your telephone, you can enter into — and participate in — the acoustic world of the Silo. More than one person can use the telephone system at once, so when you telephone you may find somebody else already in the Silo. This teleconference system was specifically adapted for use in the Silophone by engineers from Bell’s Emerging Technologies Group.
To call the Silophone from North America: 1.514.844.5555
From the rest of the world: 001.514.844.5555
Wait until the second ring, then start talking.

audio website
Go to the play page of this website to access the on-line dimension of the Silophone musical instrument. From this page, you can send pre-recorded sound files into Silophone by browsing through the thousands of uploaded sounds, or by uploading your own soundfile.

Whenever anyone is playing the Silophone over the telephone, the web, or the sonic observatory, you can hear the results by tuning into our live RealAudio stream. To hear the Silophone stream now, click the “hear Silophone” link at the bottom left hand corner of the page.

silophone 1 silophone
silophone silophone
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22

May

Libertà di stampa

Scritto da:Mauro Graziani @ 2010.05.22.03.13.42 — Archiviato in: Società

Ragazzi, non so se vi è chiaro, ma se questa legge sulle intercettazioni passa così com’è, è la fine della libertà di stampa in questo paese.

Oggi dicono che hanno tolto il carcere per i giornalisti che pubblicano notizie su un’inchiesta prima della chiusura dell’indagine preliminare, ma è del tutto inutile finché restano le pene pecuniarie (€ 10.000 di ammenda), le sospensive e soprattutto le pene per gli editori (fino a € 464.700 di ammenda). Per pubblicare, infatti, bisogna essere in due: un giornalista e un editore.

Ma soprattutto, saremmo il primo paese occidentale e almeno sulla carta, democratico, in cui entra in vigore una legge che impedisce a un giornalista di fare il suo lavoro, cioè pubblicare le notizie di cui viene a conoscenza.

Infine, vi rendete conto che tutti i regimi autoritari, dico tutti, di destra e di sinistra, militari e mediatici, sono passati, in primis, per una limitazione della libertà di stampa?

Tanto per finire, vi ricordo che la nostra Costituzione, all’art. 21, dice:

Tutti hanno diritto di manifestare liberamente il proprio pensiero con la parola, lo scritto e ogni altro mezzo di diffusione.
La stampa non può essere soggetta ad autorizzazioni o censure.

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21

May

Vampyr!

Scritto da:Mauro Graziani @ 2010.05.21.00.01.48 — Archiviato in: Strumentale

Tristan Murail - Vampyr! for electric guitar, from Random Access Memory (1984), Wiek Hijmans electric guitar.

To be honest, I know little about this piece. It’s the sixth track from Random Access Memory, a cycle that includes a set of solo pieces for various instruments and a gold dust in the contemporary academic music where the electric guitar is seldom used.

Vampyr! is one of several works in Murail’s catalogue that do not employ spectral techniques. Rather, in the performance notes, the composer asks the performer to play the piece in the manner of guitarists in the popular and rock traditions, with a heavy overdriven rock sound. In the preface to the work, Murail writes: “The desired sound is rather like that of the solo guitar as played by Carlos Santana, Eric Clapton etc.“. And then, in bold type and with an exclamation mark: “The player should put into Vampyr! all the energy of rock music and that includes the appropriate number of decibels!” Would like to see the whole score.

The rather striking title refers to horror movies and sci-fi B-films; other titles in the cycle do so as well. This subject matter is clearly recognizable in the saturated guitar sound and the frequent, hysterical use of the tremolo arm.

Here Wiek Hijmans effortlessly transforms his Gretsch 1967 model Chet Atkins Tennesean into a ruthless yawing, squealing and screaming board.


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20

May

Terretektorh

Scritto da:Mauro Graziani @ 2010.05.20.02.43.24 — Archiviato in: Strumentale

Iannis Xenakis - Terretektorh (1965/66), for large orchestra of 88 players scattered among the audience


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19

May

Laser 50th anniversary

Scritto da:Mauro Graziani @ 2010.05.19.22.30.51 — Archiviato in: Scienza, Tecnologia

May 16 1960: Theodore Maiman presented the first laser (Light Amplification by Stimulated Emission of Radiation) to the world. 50 years later, lasers are used in everyday life in fiber-optic communications, CDs/DVDs players, laser printers, laser medical procedures, and many more applications.

But the laser has many fathers, as stated in this poetry from PhD Comics

ode to the laser

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