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Festival AURAL
Lunario
Mexico City
16.May.2013
© Feli Gutiérres
This image is copyrighted, please do not use in any way without consent.
On top is KABC-TV/7 and KRCA/62, mechanically beam-tilted down toward the metro.
The structure is 1010346, built in 1983 and owned by ABC
KRCA is a virtual 62, radiating within KABC's 7 signal. The antenna is a Harris TAV-6H CPV, with circular polarization and slight directionality.
The panel antenna with four bays and white domes is the old KABC/7 analog aural antenna, now decommissioned.
Below that are five of KLOS/95.5's master antenna's six bays. Details—
Effective Radiated Power: 63 kW
Antenna Center HAAT: 954 m (3130 ft.)
Antenna Center AMSL: 1851 m (6073 ft.)
Antenna Center HAG: 112 m (367 ft.)
Site Elevation: 1739 m. (5705 ft.)
Height Overall*: 143.3 m (470 ft.)
Off the Shelf Antenna
Antenna Make/Model: None
This is in the antenna farm on Mt. Wilson, a ridge looming a mile above Los Angeles. Mouse over for more.
I waited too long to book my flight to philly and therefore suffered
the consequence of a connecting flight through detroit. I do not like
air travel. there are a number of reasons for this, but perhaps the
most important is the unrelenting assault on my aural space. I seem
to have a particular sensitivity to unwanted sounds. overheard
conversations, except for overheard interesting conversations (.001%
of overheard conversations, depending on the circumstance. in
airports, it's .00001%); any sort of shouting or yelling; sirens;
water dripping; the sound of loud chewing or slurping is my nemesis.
I also hate announcements, especially pre-recorded announcements.
Especially pre-recorded announcements that reflect despicable public
policy. So you can see how sitting in an airport would be a problem
for me.
"Due to heightened airport security..."
Anyway I typically manage this problem with my iPod, equipped with
sound-insulating headphones. This works well, except that you are not
allowed to use an iPod on takeoff and landing, takeoff being the
issue as that is when the pre-flight safety lecture occurs, a process
that I find almost unbearable. Today I was sitting in my seat,
dreading the lecture, when I realized that I have earplugs. I popped
them in. What a difference! I still hear everything, but I hear it
*softly*. I don't feel like I'm being pinned down and force-fed cough
syrup, it's like a spoonful of sugar for the airport's horrible
ambient cacophony. I haven't taken them out in four hours now, I'm
hooked. They do look a little weird. What is needed is a volume
regulator for your ears; a knob, perhaps on your thigh, so you could
stealthily turn down someone who's just a little too loud. I'm now
going to grab some taco bell before catching my flight back to
montreal, home of the worst mexican food in north america.
Enjoy the aural treats of the lower gears as preserved Rochdale 235, an AEC Regent of 1951, goes on a test run. This was my first of what I hope will be many rides on my new acquisition, as Glenn expertly navigates the preselector gearbox bus through the streets. If you want to see a longer version, go to youtu.be/Qfn0ao2L__4
Aural Fetish, number 440, slides toward me and stops about 6 inches away. This sequence of photos started at 35mm and for once in my life, I kept my finger on the shutter release and zoomed to the wide end as the action unfolded.
Curso-Taller de Arte Sonoro. Auralidad: Paisaje sonoro e identidad acústica. El colectivo Escoltar.org (Galicia) encabezado por el antropólogo Chiu Longina y el musicólogo Juan Gil López, propusieron este taller dirigido a artistas, músicos, científicos sociales, activistas sonoros, credores y personas interesadas en general en los fenómenos del arte sonoro. ARTIUM, Del 11 al 15 de junio del 2009. Vitoria-Gasteiz.
Domingo 17 de diciembre de 2017.
En la Casa del Lago del Bosque de Chapultepec, se realizó el festival nicho & Harmonipan en Aural con una serie de proyecciones de cine, un breve simposio sobre publicaciones, performance y música (performances: Juan Sebastian Lach con Alex Durlak MX/CA / Valerio Tricoli IT / Gustavo Nandayapa MX / Werner Dafeldecker con Gustavo Nandayapa y Natalia Pérez Turner AT/MX / Rob Mazurek MX)
Fotografía: Alejandra Méndez/ Secretaría de Cultura CDMX
Curso-Taller de Arte Sonoro. Auralidad: Paisaje sonoro e identidad acústica. El colectivo Escoltar.org (Galicia) encabezado por el antropólogo Chiu Longina y el musicólogo Juan Gil López, propusieron este taller dirigido a artistas, músicos, científicos sociales, activistas sonoros, credores y personas interesadas en general en los fenómenos del arte sonoro. ARTIUM, Del 11 al 15 de junio del 2009. Vitoria-Gasteiz.
Curso-Taller de Arte Sonoro. Auralidad: Paisaje sonoro e identidad acústica. El colectivo Escoltar.org (Galicia) encabezado por el antropólogo Chiu Longina y el musicólogo Juan Gil López, propusieron este taller dirigido a artistas, músicos, científicos sociales, activistas sonoros, credores y personas interesadas en general en los fenómenos del arte sonoro. ARTIUM, Del 11 al 15 de junio del 2009. Vitoria-Gasteiz.
The red aural light could be seen with the naked eye stretching from the west through north to the east. At one point, the red glow could be seen enveloping the constellation Orion. The image shows the glow within the constellation Auriga. Taken in Sands Lane Oulton Broad, Suffolk, UK. 11-10-2024. Canon 600d DSLR with Canon F1.4 f=50mm lens. ISO1600.
Curso-Taller de Arte Sonoro. Auralidad: Paisaje sonoro e identidad acústica. El colectivo Escoltar.org (Galicia) encabezado por el antropólogo Chiu Longina y el musicólogo Juan Gil López, propusieron este taller dirigido a artistas, músicos, científicos sociales, activistas sonoros, credores y personas interesadas en general en los fenómenos del arte sonoro. ARTIUM, Del 11 al 15 de junio del 2009. Vitoria-Gasteiz.
Curso-Taller de Arte Sonoro. Auralidad: Paisaje sonoro e identidad acústica. El colectivo Escoltar.org (Galicia) encabezado por el antropólogo Chiu Longina y el musicólogo Juan Gil López, propusieron este taller dirigido a artistas, músicos, científicos sociales, activistas sonoros, credores y personas interesadas en general en los fenómenos del arte sonoro. ARTIUM, Del 11 al 15 de junio del 2009. Vitoria-Gasteiz.
Curso-Taller de Arte Sonoro. Auralidad: Paisaje sonoro e identidad acústica. El colectivo Escoltar.org (Galicia) encabezado por el antropólogo Chiu Longina y el musicólogo Juan Gil López, propusieron este taller dirigido a artistas, músicos, científicos sociales, activistas sonoros, credores y personas interesadas en general en los fenómenos del arte sonoro. ARTIUM, Del 11 al 15 de junio del 2009. Vitoria-Gasteiz.
Aural Drums Concert Snare Drum with Dual Snare Strainers! Concert Snare Drum of Wiener Philharmoniker, Vienna Philharmonic, Snare Drummers in Neujahrskonzert Performances of the Radetsky Marsch... see Performances on youtube.com!
...search Neujahrskonzert... Radetzky
Marsch!
By 1950, the US Air Force had three superb bombers in its arsenal or about to get there: the B-36 Peacemaker, the B-47 Stratojet, and the B-52 Stratofortress. None of these aircraft were supersonic, however, and the increasing lethality of Soviet air defense fighters meant that the bombers might not make it to their targets. With this in mind, the USAF issued a requirement for a truly supersonic bomber. This presented a huge number of challenges, but after reviewing proposals, the USAF selected Convair’s MX-1964 design in 1952.
This was a radical design that used a delta wing, area ruling, and four turbojets (eventually the reliable J79) to achieve its maximum speed of Mach 2, twice as fast as the USAF requirement. Delta wings and area ruling were brand-new technology in 1952, and the prototype was appropriately named the XB-58 Hustler.
Because of its high speed, the B-58 had to have a number of unique design features. Its thin fuselage meant that a conventional bomb bay capable of carrying the large atomic bombs of the time was impossible; instead, the Hustler carried its payload in a large underfuselage pod, which carried both fuel and a single multi-megaton nuclear weapon. Once over the target, the B-58 would jettison the pod and then outrace the nuclear shockwave. The B-58 also was the first aircraft to use aural warnings from the flight computer: the USAF made the computer’s voice female (the voice belonged to actress Joan Elms, but the crews referred to her as “Sexy Sally”). Finally, given that an ejection at Mach 2 would be fatal in conventional ejection seats, each of the three B-58 crewmen had separate cockpits equipped with clamshells that would close around the crewmember on ejection, protect him from the high speed bailout, and serve as a liferaft if the crew should have to eject over water.
All of these innovations made the B-58 not only expensive to build, but maintenance intensive and expensive to operate. For the cost of one B-58, three B-52s could be built. Despite the high cost, the B-58 went into production in 1960 and immediately set a number of records, including the New York-to-Paris record that would not be broken until the SR-71 Blackbird went into service. Because the B-58 was a handful to fly, crews were handpicked and trained in F-102 fighters before going on to the Hustler.
After all the expense and trouble put into the Hustler’s development, it was to have a short lifespan: the advent of surface-to-air missiles was to doom the B-58 to early retirement. Believing that the B-58 would never survive at high altitudes, it was relegated to low altitude penetration; while the B-58 was still fast and responsive at low altitudes, it was now vulnerable to antiaircraft fire and MiG fighters. Citing its cost, lack of range and questionable survivalbility, Secretary of Defense Robert McNamara ordered the USAF to phase out the B-58 in favor of the F-111 by 1970. This was done on schedule, with the last B-58A retired in January 1970. Only 116 were produced, and of this number, a quarter were lost in accidents. Eight aircraft remain in museums.
Built as one of the YB-58A prototypes, 55-0666 would never enter service with a frontline USAF unit. Instead, it was used as a testbed, mainly for engine tests; it was the first aircraft to fly at Mach 2 for longer than 30 minutes, in 1958. It would later be modified as a RB-58A, able to carry a ventral reconnaissance pod rather than the bomb/fuel pod. In 1964, 55-0666's flying career ended, and it was used as a ground instruction trainer, first at Edwards AFB, California and then at Chanute AFB, Illinois. In 1967, it was donated to the Chanute AFB Museum, where it would remain until 2015, when the Chanute Museum closed. During its time there, it was painted as "Greased Lightning," the B-58 that flew from Tokyo to London in eight hours. (The real "Greased Lightning" is on display at the SAC Museum in Nebraska.)
After the closure of Chanute, other museums scrambled to save the aircraft there from scrapping. The Castle Air Museum was able to get 55-0666, and it was dismantled for transport across country in late 2017. Since then, the museum has been working on restoring the aircraft.
I therefore didn't see 55-0666 at its best in May 2021: only one of its engines is attached, and some wing components are missing. Castle is making progress on the aircraft, though, and it will be interesting to see how it's displayed when they're finished. I noticed that the inaccurate "Greased Lightning" markings have been painted out and the actual tail number added.
Estai with my brother João.
Estai had yesterday again surgery to an Aural Hematoma. Apparently it is common, but none of my dogs has ever had this. No play this weekend …
“An Aural Hematoma is a collection of blood under the skin of the ear flap of a dog or cat. (The ear flap itself is called the Pinna.). Ear hematoma occurs much more commonly in dogs than in cats; a hematoma generally is the result of trauma to the pinna from an injury or from the dog or cat scratching at the ear. Since there is little strength or depth to the tissues of the pinna, clotting may be delayed... especially if the dog or cat continues to upset the clotting by additional self trauma. The entire ear flap can become swollen, infected and severely uncomfortable to the dog. Hematomas can heal themselves but will leave behind a scarred, crinkled and shrunken pinna. And since the original cause is usually an infected ear canal, the original cause needs to be treated as well as the hematoma itself. Veterinarians generally will recommend surgery to open and drain the hematoma and remove dead and degenerating clots and fibrin. Then sutures are used to tack the skin layers over the thin cartilage center tight to the cartilage to eliminate any space for more blood or serum to accumulate. Of course this is done only under general anesthesia, and antibiotics and anti-inflammatory medication is used post operatively. “
This isn't really my kuro lolita dress, but I didn't have another set to put this picture in, and well.... the blouse is still all black! So here it is. =)
This pic was taken with my iMac's Photo Booth and edited in a free trial of Aperture 3. I'm not what you would call a grease monkey with image editing programs- I'm pretty much only self-qualified in Microsoft Paint. XD Nonetheless, I think this picture came out totally awesome! I doesn't look too much like me, but I think that's what I like best, haha.
I have much darker golden skin, but the flash washed me out. I tried my best to get some skin tone back- but I had to cheat to do it by screen capping my otherwise invisible brush strokes using color overlay. Thankfully, color overlay is tinted red! =D Also, the background is really my dark blue plush blanket that I tinted and smoothed out, lmao.
Btw, title "Lady Momo" because people say this reminds them of Lady Gaga- but really, Exo-Chika of Aural Vampire is also my inspiration.
It was obvious that when Primus planned this show, the visual experience was just as important as the aural experience, but most of the show found the members of the band in very low light or dark shadows. I like seeing performers when they play but I don't plan their shows. So many of the shots were taken in very low light with high ISO which meant I had to use high levels of noise removal in post processing to make the images presentable. I still had a blast at the show though.
Fue obvio que cuando Primus planeó este espectáculo, la experiencia visual era tan importante como la experiencia auditiva. Entonces, durante la mayor parte del espectáculo los integrantes de la banda se encontraban en muy poca luz o sombras oscuras. Me gusta ver a los artistas cuando tocan, pero no planeo sus conciertos. Muchas de las tomas se tomaron con muy poca luz y un ISO alto, lo que significa que tuve que usar altos niveles de eliminación de ruido en el procesamiento posterior para que las imágenes fueran presentables. Sin embargo, todavía me divertí mucho en el espectáculo.
Curso-Taller de Arte Sonoro. Auralidad: Paisaje sonoro e identidad acústica. El colectivo Escoltar.org (Galicia) encabezado por el antropólogo Chiu Longina y el musicólogo Juan Gil López, propusieron este taller dirigido a artistas, músicos, científicos sociales, activistas sonoros, credores y personas interesadas en general en los fenómenos del arte sonoro. ARTIUM, Del 11 al 15 de junio del 2009. Vitoria-Gasteiz.
Curso-Taller de Arte Sonoro. Auralidad: Paisaje sonoro e identidad acústica. El colectivo Escoltar.org (Galicia) encabezado por el antropólogo Chiu Longina y el musicólogo Juan Gil López, propusieron este taller dirigido a artistas, músicos, científicos sociales, activistas sonoros, credores y personas interesadas en general en los fenómenos del arte sonoro. ARTIUM, Del 11 al 15 de junio del 2009. Vitoria-Gasteiz.
Curso-Taller de Arte Sonoro. Auralidad: Paisaje sonoro e identidad acústica. El colectivo Escoltar.org (Galicia) encabezado por el antropólogo Chiu Longina y el musicólogo Juan Gil López, propusieron este taller dirigido a artistas, músicos, científicos sociales, activistas sonoros, credores y personas interesadas en general en los fenómenos del arte sonoro. ARTIUM, Del 11 al 15 de junio del 2009. Vitoria-Gasteiz.
A.A.A. AURAL ART ALERT A.A.A.
...... loving to be lost in the labyrinth ....... @LEA29 - DEMIURGE & SAPIENS - Gem's land of fractals
maps.secondlife.com/secondlife/LEA29/148/145/22
- - - AURAL: arty + party - - -
Audio Asylum is a fictional store I created, that sells vintage and new audio equipment. (anything to do with high-end audio reproduction.) Mostly specializing in vintage. A couple ads/posters I created for the store for my ADV Design class. (the two circles on top is the logo of the store, it's supposed to be a reel-to-reel tape deck)
01. Nik Malham (Introduction)
02. Aural Sculpture
03. Nuclear Device
04. Toiler On The Sea
05. Ships That Pass In The Night
06. It's A Small World
07. Just Like Nothing On Earth
08. No More Heroes
09. Who Wants The World
10. Never Say Goodbye
11. Baroque Bordello
12. Golden Brown
13. Princess Of The Street
14. Midnight Summer Dream
15. European Female
16. Tramp
17. The Raven
18. Duchess
19. London Lady
20. La Folie
100:100
100 sound works by 100 artists
from the 21st Century
Presented by Melbourne International Arts Festival
and Gertrude Contemporary Arts Spaces
11 October – 8 November 2008
Curated by Alexie Glass, Emily Cormack, Marco Fusinato, Oren Ambarchi
“When we separate music from life we get art.” John Cage
Presented as part of the 2008 Melbourne International Arts Festival , 21💯100 features 100 works by 100 sound artists produced in the 21st Century. This exhibition is the first significant survey to explore and chronicle the extraordinary developments that have occurred in contemporary sound art this century.
Today, Sound Art and Experimental Music enjoy an infrastructure all of their own, with journals, labels, music festivals and websites devoted to its critical and creative discussion. This ambitious concept has been developed with the premise that the foundations of both sound art and contemporary art share a similar spirit of enquiry and experimentation, and whilst the discussion of their relationship is a lively one, this exhibition will be the first to present such a breadth of sound work to Australian audiences within a gallery context.
21💯100 was developed by Gertrude Contemporary Art Spaces in collaboration with internationally acclaimed Australian artists Oren Ambarchi and Marco Fusinato. It includes work made in the last eight years - with some works made especially for the exhibition - chronicling new directions and innovations in sound art. These works will be played on 100 headphones suspended within the gallery, creating a space for the visitor to pick their way through sound art’s many and varied aural and conceptual evolutions.
The exhibition spans a range of threads and styles within the art form, featuring work by a diverse selection of the worlds leading practitioners with artists including: Phil Niblock (USA); Sun o))) (USA); Fennesz (Austria); Steve Roden (USA); Otomo Yoshihide (Japan); Fennesz (Austria); Sonic Youth (USA); Jandek (USA); Sun City Girls (USA); Dead C (NZ); Jim O’Rourke (USA) with many more artists to come.
This exhibition will be accompanied by a full-colour 250 page publication designed by Fabio Ongarato Design that will be launched in November.
As co-curator Alexie Glass states “Melbourne has always enjoyed an incredibly lively sound art community and has been a central site in the investigation and presentation of sound art in a music festival context. 21💯100 provides a truly unique opportunity to fully engage with sound art, and to trace its varied thematic threads, and innovative stylistic developments. It is the first exhibition of its kind and is one of the most important sound art exhibitions in Australian history.”
21💯100 EVENT
A once-only sound event has been scheduled in conjunction with this exhibition. This exclusive 21💯100 event features a live collaboration between Oren Ambarchi, Marco Fusinato, Robin Fox, James Rushford and Brendan Walls. Sunday 19 October, 9-10pm. BMW The Edge, Federation Square.
EXHIBITION OPENING HOURS:
Tue – Fri. 11am – 5.30pm Sat. 1 – 5.30pm Sun. 12 Oct and Sun. 19 Oct. 1-5.30pm
Photo showing an impression of Wolfgang Fadi Dorninger’s (AT) "The Aural-Memory-Machine – Performance" at St. Mary’s Cathedral.
Credit: Florian Voggeneder
Some of the members of the MAGiS orchestra. They've been here for days already making sure that they're tune-perfect for your aural pleasure.
Photo showing an impression of Wolfgang Fadi Dorninger’s (AT) "The Aural-Memory-Machine – Performance" at St. Mary’s Cathedral.
Credit: Florian Voggeneder