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The other area where we are recording sounds is Sanaullah Compound, closer to Mahim railway station, where many kinds of recycling units are stacked against each other. Here, the shredding of plastic, the burning of aluminium furnaces and the sacks of scrap being thrown down from trucks are frequently heard. The screeching sounds from rusty shredding machines make one wonder how the labourers can work without the use of earplugs. For these labourers, most of whom are migrants, Sanaullah is work and home. A little shack of a restaurant, paan kiosks, barbers, an ironing man, chai stalls and various other essentials of daily living function side by side. Against this background, the aural predominance is of men talking business (or gossiping) over phones or with each other. Understandably, they don’t want their conversations recorded.
Walking around trying to be inconspicuous with a recorder in our hands, we realised that some sounds are bound to perish with time and modern lifestyles, such as the sounds of game machines in a very 90s video parlour or the bell of a kulfi seller. Collecting these sounds could be a way of creating an aural museum and complementing visual archives of Dharavi.
I like that Stellantis even has a Dodge sedan/coupé-like vehicle available on the market. I also like its appearance. And it’s a 2-door design.
It’s rather impressive that the current Dodge Charger can be had in a version with 670 hp that can attain 60 mph within 3.3 seconds and has a standing start quarter mile ET of 11-1/2 seconds.
Reading about the features though, I find it somewhat comical that the electric vehicles are supplemented by “Fratzonic Chambered Exhaust” that creates an aural sensation similar to that of an internal combustion engine and “Force Generators” that artificially create a tactile ‘rumble’ felt through the steering wheel and seats. Really? Why?
It’s similar in appeal to this:
Join us at the stone court where the Queen of the Roses reigns supreme - playing sounds that will seduce you and your senses DJ Zarabella Ming is live for Aural Fixation from 4 to 6 at The Ishtar.
.... ... a track I was listening to ....,Scooby figured it only right to add the Title to his rainy Portrait ...the Alabama 3 do indeed rock.
Treat yourself to some Aural Pleasure ...Change must come from Exile on Main Street
EXPLORED 16th Feb, 2013 #44: - Thanks Everyone
One of the earlier shots from my first night time outing with the D800. I have tweaked it a bit here and there, the source of that colour is sodium street lighting. I have increased the sharpness, contrast and maybe the colour.
Since I had the D800, it seems that the photographs are more sensitive to any increases in contrast during processing, certainly compared with shots taken with the D300. I wondered if anyone else has had any similar experience?
Aural: soundcloud.com/mutesong/max-richter-written-on-the-sky
Excerpt from wellingtoncityheritage.org.nz:
Albatross has high artistic value. The sculpture is bold in form and materials; its organic shapes echo the hills of Wellington and its use of water blurs the line between the city and the harbour.
Albatross’s maker, Tanya Ashken, is an acclaimed and accomplished New Zealand sculptor. It was Ashken’s’ strong desire to provide Wellington with a public sculpture that. Albatross also has a strong association with the Wellington Sculpture Trust, which was formed from the prolonged process from which Albatross was born. Albatross was a rallying cry for public sculpture advocates and it was a catalyst for the relatively prolific public sculpture scene in Wellington.
Albatross has considerable cultural value to Wellington. It is a significant piece of public art, artistically and socially. It also remains a highly valued sculpture for the Wellington Sculpture Trust.
Albatross is comprised of three large, white, abstract ferro-cement shapes arranged in a raised circular fountain. Water cascades from all three shapes, giving the sculpture significant kinetic and aural qualities.
In Albatross, Wellington curator Aaron Lister sees an artistic connection between the sculpture and the Wellington Sculpture Trust, writing that ‘its abstracted forms, which harness natural rhythms and energies, embody the Trust’s early ideals and objectives’ in a statement of ‘cultural and spiritual values in the face of the city’s redevelopment’. Lister also believes Albatross tries and succeeds at interacting with Wellington’s natural landscape :
Its gleaming white surfaces reflect the light and colours of its harbour-side setting, while its organic shapes echo the hill forms of this evocative natural environment. Ashken’s use of water as both a malleable sculptural form and a symbolic force serves to bring the power of the harbour closer to the heart of the city.
May I present to you, the epitome of aesthetics, sound, speed and legacy.
Very special moment for me, two 599 GTO's on the road side by side. This was a hard moment to capture, and I did my best which I'm proud of :)
Let me know what you think of the shot and editing, it's greatly appreciated and thoroughly encouraged.
Number 3 and the final of a series of Guitar Midi ad manipulations done in 2000 on an original "bubble" iMac in Photoshop 6.
I took these images ( 3 of them used for this composition ) and further manipulated some and collaged them into this present form. Blowing old files up to current size grains them out but I love the look of that.
The repeated modulations of the same images across the frame is a kind of visual "synaesthesia" of musical notes spanning either the aural picture of a piece of music or acting as visual stand-ins for notation. Playing with the visual in the service of music.
Created for The "Award Tree" Group's challenge "Music Works".
www.flickr.com/groups/awardtree/discuss/72157707063052805/
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Music Link 1. ) "Four Sticks" - Led Zeppelin, from their fourth album, sometimes known as "Zoso" or "Zofo". While "Four Sticks" is one of Zeppelin's more obscure, lesser known pieces it is nevertheless one of their very best. A phenomenal arrangement of multiple layers of electric and acoustic 6 and 12-string guitars with a killer riff that defines guitarist Jimmy Page's extraordinary, almost visionary approach to the instrument. Idolized and worshipped as a player, what really make Page a phenomenon was his impeccable musicality. He could write powerful, unforgettable music with brilliantly new ideas and a strength and power that was wild but beautifullly crafted and tastefully arranged.
Page had an enormous, prodigious talent for creating guitar lines that have pretty much defined what rock guitar phrasing is all about. His ability to write a 'hook' that held you fast and really took you somewhere both darkly Dionysian and brilliantly Apollonian was what made the band the legend that it was. Robert Plant's vocals here are so obscure and muddied that the lyrics he's singing are purely incidental. What he's really doing is turning the vocal line into another instrument to solo over top of Page's chugging, meaty guitar parts. It works brilliantly. "Four Sticks" ...
www.youtube.com/watch?v=iJp27QMR2KU
Music Link 2.) "Third Stone from the Sun" - Jimi Hendrix, originally from his album, "Are You Experienced ?" ( 1967 ). What can one say about Jimi Hendrix that hasn't been said ad infinitum ? He played a Fender Stratocaster ( depicted in my image ) and made it's distinctive sound almost synonymous with himself. "Third Stone" was never one of Hendrix's more famous songs like "Purple Haze", "Foxy Lady" or "Voodoo Child". It's almost entirely instrumental with only spoken voice parts to add to its monumental psychedelic sound. Pay attention, as well, to Mitch Mitchell's incredibly deft and very musical drumming !! After "Wind Cries Mary", it's my favourite Hendrix piece.
Unfortunately the Hendrix family estate is extraordinarily strict on allowing YouTube releases of his work. Instead I got this link to the original piece through its posting as an item on the soundtrack of a movie of questionable value. Who cares though ? I got it !!! "Third Stone from the Sun" in all it's original glory ...
www.youtube.com/watch?v=h-Rg5FGs-9w
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© Richard S Warner ( Visionheart ) - 2000, 2019. All Rights Reserved. This image is not for use in any form without explicit, express, written permission.
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Aural Fixation with DJ Zarabella Ming: Lingerie + Suits mixed with delicious songs that will have you feeling extra sensual, sexy, and in the mood to play.
4-6pm SLT
I wish I was a believer
I'd spend less time maybe
In being sad
So many laws against disbelieving
I don't know who's good or who's bad
North Winds Blowing
Blow all away
Music: Please Right Click and select "Open link in new tab"
www.youtube.com/watch?v=fg-QbuMCpGA
The Stranglers - North Winds Blowing From the Album Aural Sculpture
Still the most dramatic event we have been lucky to see and photograph. The wildebeest migration crossing the swollen Mara River in Maasai Mara.
For the human spectator, it's a breathtaking and utterly unforgettable experience. It is visually three-dimensional, aurally magnificent, infused with an infectious aura of chaos and confusion, and tangibly charged with adrenalin.
Walt Disney Concert Hall
The Walt Disney Concert Hall is located on the south end of the Music Center Campus. The Concert Hall is bordered by Hope Street (West), Grand Avenue (West), First Street (North) and Second Street (South).
Designed by architect Frank Gehry, the Walt Disney Concert Hall is designed to be one of the most acoustically sophisticated concert halls in the world, providing both visual and aural intimacy for an unparalleled musical experience. The auditorium, designed to look and feel like a ship's hull, features 2,265 audience seats which surround the orchestra, as well as natural lighting. The Walt Disney Concert Hall is wheelchair accessible and provides Phonic Ear sound system headsets for the hard of hearing.
The Walt Disney Concert Hall encompasses two outdoor amphitheaters, including the William M. Keck Children's Amphitheatre (seating 300) and a second performing space (120), as well as BP Hall, a space for pre-concert events. Part of the Walt Disney Hall complex, the Roy and Edna Disney/CalArts Theater (REDCAT), is a 250-seat multi-use theater and a 3,000-square-foot art gallery operated and programmed by California Institute of the Arts.
From the stainless steel curves of its striking exterior to the state-of-the-art acoustics of the hardwood-paneled main auditorium, the 3.6-acre complex embodies the unique energy and creative spirit of the city of Los Angeles and the Resident Companies that call the Concert Hall home.
Check the set: Walt Disney Concert Hall
Twitter: @kkros2k
Facebook: www.facebook.com/kkros2k
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Watch out for the launching of my book "HDR UNLEASHED" in July.
(Explore in/out, 5/5/2013) (all square remix - fiddling in CS6) Impressions of Kyoto's bamboo forest - Fat Burns+Lucy collaboration.
The Sagano Bamboo Forest is one of Japan’s national treasures. It is about a half-hour out of the ancient capital of Kyoto and covers a total area of about 15 square kilometres. It is spectacularly beautiful – not just visually, but aurally as well. The sound of culms knocking together and the wind sighing through the upper branches is an extraordinary sensory experience, as is the filtered, moving light and shade.
Bamboo is still used extensively in Japan in art, building, furniture, paper making and textiles. Historically, there would have been many similar forests as, in common with most Asian countries, the Japanese have a reverence for bamboo and all it provides to the community. Unfortunately, population and farming pressures throughout Asia have resulted in a significant decline in bamboo forests in the past 30 years.
The genera here is Phyllostachys edulis, better known as Moso. It is a running variety that originated in China. The shoots are highly prized as a food and the long straight culms are up to 25 metres in length, making them excellent for building.
While Moso is not suitable for most gardens, there are many totally non-invasive clumping bamboos that well bring exceptional beauty to your home. There are even temperate varieties capable of withstanding temperatures as low as -20F. (Source: www.theownerbuildernetwork.com.au believe it or not)
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© All rights reserved.
This image may not be copied, reproduced, distributed, republished, downloaded,
displayed, posted or transmitted in any form or by any means, including electronic,
mechanical, photocopying & recording without my written consent.
It is dangerous to be aurally disconnected from your surroundings. It endangers people in the same way as using mobile devices while driving.
Causeway Bay, Hong Kong (Saturday 3 Nov 2018)
CATWA HEAD HDPRO Queen NonBentoEar v1.4
-Belleza- Isis V6 BOM/BENTO updated and currently 50% off
Skin: Cheap & Chic! Group gift Skin [Catwa HDPro+Maitreya], ***worn with Izzie's - Eyebrow Concealer 10
Freckles: [7DS] - BOM BODY freckles v1 medium full body
Moles: Finer Threads - Serena Beauty Marks 1
CATWA Freckles -Tintable-
RAMILLA - Samantha Eyelashes I Group Gift ***HD Appliers for Lelutka Evo & Evo X / Catwa HD Pro
Ottilie - Daily Lip Balm. Many fittings including BOM. This product was updated 25/04/2021 and now also includes EvoX and HDPro 1L MP
Hair: Doe: Ericka - Essentials
Clothing
!Auralia :: Malar Blouse - Belleza Isis lemon 1L MP
Pink Cream Pie :: Aimee Cargo [Sand] Isis
Accessories
Necklace: Finer Threads - The Cross Necklace Group Gift
Pets
JIAN Barn Owl :: Companion - Flying (Add me!) x2 from the JIAN Barn Owl Collection
Pose
{Imeka} Ballet - Pose 5 {GIFT} MP Gift
Location
Coastal Waterway, Cortona (225, 139, 43) Protected land
Heading back to the main road after my first day at Cumbre Pass and this sneaks up on me. A quiet unloaded copper train that has evaded my aural radar with the sea fog rolling in at the end of another day.
1 Sept 2019, FCAB 2008 + 2404 on empty copper wagons up Cumbre Pass, Chile
EAR CUFFS : CerberusXing : Aural Penetration (Black) @Uber
MOUTH PIERCING : CerberusXing Steel Goatie (Black) @Uber
BODY TATTOO : G.ID : Themis Tattoo-70% @Suicide Dollz (Nov,2 pm13:00 open!)
BOOTS : C L A Vv. : NeoShaolin Boots Black @xiasumi school festival (Nov,3 open!)
the first morning at Cave Creek Canyon near Portal, AZ - waking to the sounds of multiple birds and the creek. pure aural delight.
It is Friday. It is a gorgeous day. Let's play some music and have a great weekend! :)
DJ Red Pony spinning at Roche Bobois.
She is so fabulous! Super talented, super nice and her taste in music is spot on.
Kodak Portra 160VC/Nikon FM2/Nikkor 50mm f1.8
๖ۣۜღ Body๖ۣۜღ
Head: Lelutka Avalon
Skin: [Glam Affair] Hellin Skin [Lelutka EvoX] Basic Line
Body: Legacy Perky
Hair:S-CLUB CINDY FATPACK
Shape: My own Ayla
๖ۣۜღ Tattoo's / Makeup๖ۣۜღ
+ARANA+ BAT tattoo BOM+3D Shines EvoX
Lips: Knife Party // Brooklyn Lipgloss // Evo X
WarPaint* Killjoy Eyeshadow [Fatpack] (add)
SOMEONE - Eyeliner Essentials 2.0
[AERTH] Oracle Body Tattoos FATPACK
Lilithe'// Silk Tattoos [NECK]
Lilithe'// BroAst Tattoos [FATPACK]
voodoo. Traviesa Ripped Fishnets Set - BOM (wear)
๖ۣۜღ Apparel๖ۣۜღ Kustom 9 10/2024
AsteroidBox. Erica Bodysuit - Legacy Pack
AsteroidBox. Erica Gloves
๖ۣۜღAccesories๖ۣۜღ
Clover - MegaLash (updated 4/24)
[MJN] Grung Baddie {CLOVER MEGALASH } ~ADD ME~
:[Yomi] Precious Petals - Obsidian (Nails)
:[P&R]:- Aural Orb - Sparkle [Trick or Treat Lane 10/2024
]Zibska [HoS] ~ Moros Set (Hat and all the Flowers/ Birds everything around her head and shoulders )
My Baby Bat Adam - [Rezz Room] Bat Animesh (Shoulder)
So news. I opened an exhibit called "Aural" as a collaboration with Morlita Quan a sound artist for Feint and Bone art sim. Essentially Morlita created a layered sound which was broken down into parts that added up to that final sound. I was then given these sounds and would contemplate how they made me feel in order to express them. The idea being to create a space where the sound element was not overpowered by the visual one. I wanted to create it so that the sounds of Morlita were more the focal point that the visual aspect that I created and hopefully it worked. Below you can see the machinima and decide for yourself if I did justice to the wonderful sounds of Morlita.
www.youtube.com/watch?v=69_xTBjPaMw
This machinima for Aural is also now part of a group exhibit called Parallel Worlds being shown in Portugal. Opening on the 24th, at 4 pm, at Casa Municipal da Cultura de Estarreja, Portugal. As part of the 2021 Avanca International Film Festival. Aural is open in the virtual space of Second Life until August 1st. It is a group exhibit showing some of the talented artists who work in virtual spaces.
Bryn Oh
CapCat Ragu
Elif Ayiter
Eupalinos Ugajin
Iono Allen
Livio Korobase
Meilo Minotaur
Morlita Quan
Silvestre Pestana
Theda Tammas
Tizzy Canucci AKA Tess Baxter
Tutsy Navarathna AKA Basile Vignes
Venus Adored
Psst what is machinima?
It is the use of real-time computer graphics engines to create a cinematic production. Most often, video games are used to generate the computer animation. So for example in the machinima I make for my youtube channel I will create all the models in Zbrush, write the story and compose the environment then film the desktop, later editing the recordings in software. While it does not allow for the same freedom of the virtual space which I create, it does compliment it and allow for an ephemeral space to be remembered.
I have lived in the area seven years and I'm ashamed to say I have never hiked the West Fork of Oak Creek near Sedona because the (overpriced) parking lot was always full. First in the lot at the trailhead today, I paced the sunlight up the canyon with only 7 other hikers in the first two hours. It's an overwhelming visual and aural experience - if you beat the crowds.
On the way back, I caught this young man - alone on this overhang, alone in his thoughts - like I often find myself.
Harold boarded with us fairly often while his owners traveled around the world. I took this picture of him almost two years ago and emailed to his parents. His dad told me yesterday that they had been sitting in a cafe in Cambodia, missing Harold, when they received his picture along with an update.
There was something a little "off" about Harold and he was extremely cranky. I was about his only fan, but we got along very well. I think that was because I always let him have his way so he never tried to bite me . When I opened his cage door to clean it and give him fresh food, I let him jump out to walk around the boarding room. He would wrap himself around my legs and arch his back to be patted. When it was time to get him back in his cage, I'd put a treat on his towel and he'd jump right in. He got lots of outings and I never got attacked.
Harold was euthanized yesterday but his family loved him and knew when it was the right time to say goodbye. I will miss him - he was one of a kind - but I have lots of pictures and memories of my funny friend.
Great gray owls are high on every wildlife photographer's list of subjects. I've seen and photographed them a couple of times in Yellowstone and the Tetons, but they're not easy to find, in spite of their large size. Fortunately for owl-lovers, great grays are crepuscular hunters, meaning they seek prey not only at night, but also in the morning and the evening.
On this evening in Yellowstone we were making our way back to our cabin and came across a small crowd along the roadside at the turnoff to Fishing Bridge/East Entrance road. I was anticipating a bear, since both black and grizzly bears love that area. Even better - because it's rarer - it turned out to be this lovely great gray owl. They often perch relatively low and sit quietly even in the presence of paparazzi (although in this instance the onlookers were very respectful of its physical and aural space). When they do that, the owls are in fact listening intently to the sound their prey - usually small rodents - make as they move through the grass below.
Feels like awhile since I last uploaded a picture of a supercar, so here we go. Stunning in black-on-black configuration.
I honestly think that the 430 Scuderia is more visually pleasing than the 458 Italia. Heck; sounds better, too.
{31 / 52}
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"Thou Moon! Sun of the Night,
Sister mystic of the Day;
Look down, pause in thy flight!
Calm me with thy aural ray,
Enchanting souls to silver sleep.
Look down from out thy airy keep,
My fevered senses hypnotize;
Shut out the World, whereto Mind flies--
Ambitious Mind, with travail sore;
Its fibre rest, its calm restore."
~WILLIAM BATCHELDER GREENE
This is a collaberation with the lovely Kiara Rose!! I was so happy to create based off a theme which is so close to my heart and with a photographer who is beautiful and holds so much talent!
Check out Kiara's amazing image of the moon. It is seriously one of my favorite pieces I have seen lately. YOU ARE AMAZING KIARA!!
I took the moon and sky images on the same day I took this! So it made it even more real. :)
An April sunset at Kilve, Somerset. I was hoping the ash from the Icelandic volcanic eruption would produce a really spectacular sunset. Unfortunately it was not up to what I wanted and I got my tide/sunset times slightly wrong for the shot I really wanted. Great location and I really do love this place. It was a warm evening and not a breath of wind. The peace was magical and with the very gentle lapping of a flat calm sea and the sound of the 'fizz' of the Bladder-rack' seaweed filling with water as the tide advanced the only aural distractions. I spent a whole hour enjoying the peace/sunset/warm evening, before I even thought about getting the camera out. Once the sun had disappeared below the horizon though, the temperature plummeted. When I left at 21.20hrs, mist was forming and the ash or moisture in the air (not sure which) was falling like snow in the beam of my head torch. Very weird but very tranquil and beautiful.
© Leanne Boulton, All Rights Reserved
Close-up candid street photography from Glasgow, Scotland. View full screen by pressing 'L' or clicking on the image.
Notes from an exhibit in Venice in 2019.
The wallpaper room created by Nadia Myre to welcome visitors consists of three walls and a heart-shaped sculpture woven over with beads. Guided by a soundscape evoking a mythical origin story of the universe beginning with a single sound, the visitor enters a built environment that mixes European and Native elements around which mutually shared stories were variably passed on by American peoples and Europeans each in their own way. Contextual elements such as ships, sections of maps, and other culturally relevant icons displayed on Myre’s design walls furnish the background for the centre piece of her installation: a human heart covered with Murano beads. Presented in much the same way as a man-made object in a Renaissance cabinet of curiosity this three-dimensional piece is emblematic of the relationship that Venice has indirectly had with indigenous North Americans over the centuries. Beads are here a marker or difference and identity simultaneously. Europeans conquered with Venice beads the hearts and imagination of Native peoples who eagerly welcomed this new trade good since the early contact phases. Historically appreciated for their brilliance and versatility, indigenous women created artworks of accomplished skill and beauty. Myre’s glass-covered heart continues in a long-standing artistic tradition that poignantly reminds us of the centrality of women in shaping history. If, as proven by commercial records and economic history, Venetians saw the North American bead trade as a lucrative enterprise, it is equally true that indigenous women’s desire for this merchandise was the incentive for Venetians to produce more, and as a consequence, make more profits. Equally treated as both a commodity and a colonial tool, beads have historically been the means by which European imperial powers established diplomacy and trade with Native North Americans. Used as the soft arm of colonisation, beads are therefore not just trade items, but agents of historical change in a cross-cultural conversation that Myre here invites us to peruse and ponder over.
Myre calls upon deep mythologies and re-examines European claims to a ‘discovery’ of the New World. For Myre, the exhibit brings to mind an ordinary sound--a sort of zero-vibration, an uncontained note or utterance--that recalls the many creation myths wherein the world was formed around an unending aural reverberation. Calling on this notion of an unfettered, ever-expanding energy as a point of origin, Nadia Myre’s works in this exhibition juxtapose Native creation stories with European contact history. These works investigate the role that European print media, especially maps, played in imposing a new, colonial origin story on North America’s Indigenous peoples; one that was rooted in a Eurocentric narrative of discovery and ignored existing modes of self-determination and historical record. Jumping off from her practice’s continual interrogation of transcultural mutation, these works focus on critically reversing the gaze of the othering eye through remixing and Indigenizing symbols of control and production of knowledge that formed a legacy of European nation states as the centre of the world.
Depicted in Myre’s damask-patterned wallpaper is a woman falling through a dark, vast expanse to begin human life on earth. To the Haudenosaunee, Sky Woman signifies a matrilineal line of descent which traces the people of Turtle Island to North America. Cradled, framed, or entrapped by images of European ships and mapping motifs, Sky Woman continues her fall to earth, enduring amidst the impending colonial origin narrative of discovery. Here, Myre translates a typical floral damask motif into colonial and indigenous signifiers, whose forms reflect, repeat and oscillate between evocations of growth, nature, violence and destruction, forming a doubled narrative of struggle, resilience, and layered points of origin. Based on the decorative double-sided textile from the Middle East, damask, as a popular luxury wall covering in Renaissance Italy, resonates with thematics of mirroring, cultural transmutation, and power. Through her incorporation of an ornamental circular motif used in Giacomo Gastaldi’s 1556 Map to delineate Hochelaga (Montreal), Myre uses the decorative and narrative nature of this wallpaper to abstract devices of circumscription and colonial naming of territory in a move to reject settler cartographic and claiming practices towards a consciousness of Indigenous knowledge of land and history. Aptly positioned as the nucleus of the installation is a terracotta sculpture of a human heart--standing in for the hungry heart of capitalism, greed, empires and colonies--covered in an Anishinaabe floral pattern made with Venetian trade beads. Used as ballast in slave/trade ships, beads were an important economic currency and exchanged for both goods and services as well as people. As a call to indigenization--a return to a focus on the environment and relational ways of knowing--the wounded heart, blanketed with beads, reminds us to centre with respect and love on all our relations. As a haunting story of the start of the world from a zero-point that precedes humanity, life, and form alike, the soundscape in Myre’s installation is a representation of the mythic original sonic vibration--rethinking the ways beginnings are identified, inscribed, written, and read. Points of origin are chosen; they do not indicate an end to nothingness, but only an inability to read what previously existed. Engaging creation stories are powerful tools of self-determination, cultural definition, and expression of value.
Everything is fine. He said I don’t have to meet with him anymore unless I want to. He said I should just see my cardiologist as before.
The other area where we are recording sounds is Sanaullah Compound, closer to Mahim railway station, where many kinds of recycling units are stacked against each other. Here, the shredding of plastic, the burning of aluminium furnaces and the sacks of scrap being thrown down from trucks are frequently heard. The screeching sounds from rusty shredding machines make one wonder how the labourers can work without the use of earplugs. For these labourers, most of whom are migrants, Sanaullah is work and home. A little shack of a restaurant, paan kiosks, barbers, an ironing man, chai stalls and various other essentials of daily living function side by side. Against this background, the aural predominance is of men talking business (or gossiping) over phones or with each other. Understandably, they don’t want their conversations recorded.
Walking around trying to be inconspicuous with a recorder in our hands, we realised that some sounds are bound to perish with time and modern lifestyles, such as the sounds of game machines in a very 90s video parlour or the bell of a kulfi seller. Collecting these sounds could be a way of creating an aural museum and complementing visual archives of Dharavi.
...shes my daughter - poetic license with the words of a great song sung by The Hollies - here it is my fine flickr listeners for your aural pleasure :
Designed by architect FRANK GEHRY, Walt Disney Concert Hall, new home of the LOS ANGELES PHILHARMONIC, is designed to be one of the most acoustically sophisticated concert halls in the world, providing both visual and aural intimacy for an unparalleled musical experience.
Through the vision and generosity of Lillian Disney, the Disney family, and many other individual and corporate donors, the city will enjoy one of the finest concert halls in the world, as well as an internationally recognized architectural landmark.
From the stainless steel curves of its striking exterior to the state-of-the-art acoustics of the hardwood-paneled main auditorium, the 3.6-acre complex embodies the unique energy and creative spirit of the city of Los Angeles and its orchestra.
The Walt Disney Concert Hall at 111 South Grand Avenue in Downtown Los Angeles, California, is the fourth hall of the Los Angeles Music Center. Bounded by Hope Street, Grand Avenue, and 1st and 2nd Streets, it seats 2,265 people and serves (among other purposes) as the home of the Los Angeles Philharmonic orchestra and the Los Angeles Master Chorale.
The project was launched in 1992, when Lillian Disney, widow of Walt Disney, donated $50 million. Frank Gehry delivered completed designs in 1991. Construction of the underground parking garage began in 1992 and was completed in 1996. The garage cost had been $110 million, and was paid for by Los Angeles County, which sold bonds to provide the garage under the site of the planned hall.Construction of the concert hall itself stalled from 1994 to 1996 due to lack of fundraising. Additional funds were required since the construction cost of the final project far exceeded the original budget. Plans were revised, and in a cost-saving move the originally designed stone exterior was replaced with a less costly metal skin. The needed fundraising restarted in earnest in 1996—after the real estate depression passed—headed up by Eli Broad and then-mayor Richard Riordan and groundbreaking for the hall was held in December 1999. Delay in the project completion caused many financial problems for the county of LA. The city expected to repay the garage debts by revenue coming from the Disney Hall parking users.
Upon completion in 2003, the project cost an estimated $274 million; the parking garage alone cost $110 million. The remainder of the total cost was paid by private donations, of which the Disney family's contribution was estimated to $84.5 million with another $25 million from The Walt Disney Company. By comparison, the three existing halls of the Music Center cost $35 million in the 1960s (about $190 million in today's dollars).
Downtown Los Angeles. California.
This AMDI took some time out of a very busy schedule to give us a little sample of his aural vocabulary. It's mate was busy flitting about during the serenade.
Mono County, Convict Lake, CA
Caption: Time lapse photo of the NASA Oriole IV sounding rocket with Aural Spatial Structures Probe as an aurora dances over Alaska. All four stages of the rocket are visible in this image.
Credit: NASA/Jamie Adkins
More info: On count day number 15, the Aural Spatial Structures Probe, or ASSP, was successfully launched on a NASA Oriole IV sounding rocket at 5:41 a.m. EST on Jan. 28, 2015, from the Poker Flat Research Range in Alaska. Preliminary data show that all aspects of the payload worked as designed and the principal investigator Charles Swenson at Utah State University described the mission as a “raging success.”
“This is likely the most complicated mission the sounding rocket program has ever undertaken and it was not easy by any stretch," said John Hickman, operations manager of the NASA sounding rocket program office at the Wallops Flight Facility, Virginia. "It was technically challenging every step of the way.”
“The payload deployed all six sub-payloads in formation as planned and all appeared to function as planned. Quite an amazing feat to maneuver and align the main payload, maintain the proper attitude while deploying all six 7.3-pound sub payloads at about 40 meters per second," said Hickman.
Read more: www.nasa.gov/content/assp-sounding-rocket-launches-succes...
NASA Goddard Space Flight Center enables NASA’s mission through four scientific endeavors: Earth Science, Heliophysics, Solar System Exploration, and Astrophysics. Goddard plays a leading role in NASA’s accomplishments by contributing compelling scientific knowledge to advance the Agency’s mission.
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Aine created a magical aural and visual vibe during her music and FX set at the Winter Chill at nuit!
One of the defining species of a visit in Spring/early Summer to the Spanish Steppes. A large and robust lark, with a population of at least 2 million pairs in Spain, its song is a familiar aural constant in days spent birding on the Steppes.
The song is somewhat like a slower version of the Skylarks and is generally delivered while aloft. However, like the one in the Comments section, they can sing while on the ground too.
This one was photographed in the north of Spain at Hoces del Rio Duratón in Sepulvéda when I was there on a pre-Covid trip.
A good night tonight; Danbo masters the perfect nose-grab under complicated lighting conditions with four home-made reflectors and I spent a while in Lightroom and Photoshop whilst listening to the sheer aural magnificence that is Sufjan Stevens' beautiful, and, in every way, perfect, new album, Carrie & Lowell.