View allAll Photos Tagged AURALIVING
Here is the debut of my new photography project, Aural Photography. The concept is simple, I take a photograph, then record the sounds of wherever that photo was taken. Put together, the viewer will “watch” the photograph with the sounds playing alongside it.
Please visit the Soundcloud link below, push play, then view the high-res image above with the sound playing. The effect is best when listened to with good headphones, but speakers will suffice.
soundcloud.com/khunya-lamat-pan/aural-photography-by-klp-1
This will be the first of an ongoing project I am doing. So keep an eye out for more “Aural Photography”!
Please visit the Soundcloud link below, push play, then view the high-res image above with the sound playing. The effect is best when listened to with good headphones, but speakers will suffice.
soundcloud.com/khunya-lamat-pan/aural-photograph-street
You can also view it on my new website for a cleaner and simpler function:
Please visit the Soundcloud link below, push play, then view the high-res image above with the sound playing. The effect is best when listened to with good headphones, but speakers will suffice.
soundcloud.com/khunya-lamat-pan/city-outskirts
You can also view it on my new website for a cleaner and simpler function: www.khunyalamatpan.com/aural-photography/
ALL RIGHTS RESERVED
All material in my gallery MAY NOT be reproduced, copied, edited, published, transmitted or uploaded in any way without my permission
Model : Val
Mua : Valeria Spiga
Photo, light, editing : Giacomo Macis
strobist info :
250DI II Rear the model on camera right and another 250DI II in front at the model always on camera right.
On the camera left.... the sunlight.
All triggered with cactus wireless system
Powered by Innovatronix
Follow me on facebook : www.facebook.com/pages/Giacomo-Macis/178256760711#!/pages...
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. And isn't that just a beautiful bass?
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. Y, ¿no es muy bello el bajo?
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 - - -
an evening of chant, sprechgesang, genrificational transubstantiation, glossolalics, aural climates & other things resembling, sharing properties with or being sound poetry through the voices of
jwcurry
Alastair Larwill
Sheena Mordasiewicz
Brian Pirie
Zachary Robert
6 may 2o12 at 7 PM
ArrayMusic Studio
6o Atlantic Avenue
Toronto
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1st 1/2
1. sounds' favorite words, Paul Haines (Canada, 1986), as quoted in full in extract from Paul Haines, Jubilee; source: Paul Haines, Secret Carnival Workers (Toronto?, H Pal Productions, 2oo7), with refernce to Michel Contat's reading on Paul Haines, DARN IT! (USA, American Clavé, 1994). hijacked as an introduction of manysorts. Jubilee ends "Unrelatedly, there was a recital of whisk the morning of 17 July after a night the cats had raised hell on the front lawn, a group of robins fallen by the side of the hedge as though meeting on a street corner and – now headless to prove it – plumb run out of things to say, but still prettier representations of events than the sparrows the exact size of erasers stacked up with the heads on. // Which of course are words apart." reader: curry
2. breath is, bill bissett (Canada, 1966?); source: fires in th tempul or TH JINX SHIP ND OTHR TRIPS (Vancouver, Very Stone House, 1966). concrete scattertext arranged by curry (2oo9) as duo demonstration of the logic inherent in bissett's more radical field compositions. readers: curry, Larwill
3. auf dem land, ernst jandl (Austria, 1968?); source: konkrete poesie deutschsprachige autoren, edited by Eugen Gomringer (Stuttgart, Philipp Reclam, reprint?, 198o). an "utter zoo" octupletted & here arranged as simultaneous nouns'n'sounds. readers: curry, Larwill
4. Scraptures: 12th Sequence, bpNichol (Canada, 1967?); source: bpNichol, gIFTS The Martyrology Book(s) 7 (&) (Toronto, Coach House Press, 199o). & on the 12th "day", humanity stuck its heads up from the muck & goo, took a look around in its state of ignorant grace, & knew but lustful fear. arrangement dedicated to Jan Svankmeyer. full quintet
5. KNOTS, jwcurry (Canada, 1982?); source: The (Almost) Instant Anthology '88, edited by Beverley Daurio, Daniel Jones & bpNichol (Toronto, Meet The Presses, 1988). excerpts from a "translation into concrete poetry" of R.D.Laing's lineated neuroses trackings, subsequently unreknotted & strung out as schizologue for 2 voices. readers: curry, Mordasiewicz
6. GOING CRITICAL, jwcurry/Michèle Provost (Canada, 2oo9); source: ABSTrACTS / RéSUmÉS, edited by Michèle Provost (Gatineau, privately published, 2o1o). a critical appreciation of Marcel Dzama (by Joseph R.Wolin in CANADIAN ART 25:3) is subjected to sibilant excision & extreme subsyllabic hocketing. full quintet
7. EAST WIND, bpNichol (Canada, 1979?); source: Four Horsemen, The Prose Tattoo (Milwaukee, Membrane Press, 1983). gridtext deployed through overlaid extended breathlines. our version approaches the score much more literally than did the Horsemen's more freewheeling phonetic romps. readers: curry, Larwill, Pirie, Robert
8. roses that, d.a.levy (USA, 1966); source: UKANHAVYRFUCKINCITI BAK, edited by Robert J.Sigmund (Cleveland, Ghost Press, 1968). "for gene" (presumably Fowler), a cyclic concrete poem in linear form pumping ackackfire into the imperialism of politics & semantics. reader: curry
9. Oiseautal / Super-Bird-Song, Raoul Hausmann (France, 1918?) & Kurt Schwitters (England, 1946?), respectively; source: Raoul Hausmann & Kurt Schwitters, PIN and the story of PIN (London, Gaberbocchus Press, 1962). brought together by the 1st world war & separated by the 2nd, both friends independently came to write short works based on birdsound. this interlineated arrangement by curry (2oo9?) is a step toward A Visit to the Aviary, a short suite of related material from various sources. readers: curry, Pirie
1o. Pieces of Error, Alastair Larwill (Canada, 2o12); source: unpublished. a slice of seriously afflicted time in far-removed homage to Robert Ashley & bpNichol. full quintet
11. anacyclic poem with two shouts DHARMATHOUGHTS STUPAWARDS, dom sylvester houédard (England, 1966); source: KROKLOK 1 (edited by dom sylvester houédard, London, Writers Forum, 1971). "for the artists protest committee for their call from losangeles for a tower against the war" (dsh in KROKLOK 1), an anagrammatic poem in 3 vowels & 4 consonants. readers: curry, Mordasiewicz
12. WORM, bob cobbing (England, 1954); source: CEOLFRITH 26 (edited by Peter Mayer, Sunderland, Ceolfrith Press, 1974). one of cobbing's earliest semantic derivations into sound burrowing through concrete. full quintet
13. TOTEM ÉTRANGLÉ, Antonin Artaud (France, 1964?); source: KROKLOK 2 (edited by dom sylvester houédard, London, Writers Forum, 1971), with reference to Antonin Artaud/translated by Helen Weaver, Selected Writings (New York, Farrar Straus And Groux, 1976). "For years I have had an idea of the consumption, the internal consummation of language by the unearthing of all manner of torpid and filthy necessities." (Artaud in a letter to Henri Parisot, 22 september 1945). 18 of these sound cycles excised (by Artaud) from elsewhere in his writings (Here Lies, Insanity and Black Magic, The Return of Artaud, Le Momo, To Have Done with the Judgement of God, Van Gogh, The Man Suicided by Society) & formally linked as a suite. readers: curry, Larwill, Pirie, Robert
14. It Can't Happen Here, Frank Zappa (USA, 1964); source: Mothers Of Invention, FREAK OUT! (USA, Verve Records, 1965). a somewhat remented barbershopping routine that only seems to leave metre & tonality behind. part 2 of Help, I'm A Rock, featuring Sheena Mordasiewicz as Suzy Creamcheese (after she got her shots). full quintet
15. GLASS ON THE BEACH, Richard Truhlar (Canada, 1978?); source: Owen Sound, Beyond The Range (Toronto, Underwhich Editions, 198o). transcribed by curry from a trio (Michael Dean, Steven Smith, Richard Truhlar) recording at The Music Gallery in Toronto, 18 august 1979, with additional parts adapted from 2 manuscript scores courtesy of Truhlar. extended vocal waveforms with buried shards. full quintet
16. Pieces Of Stop, bpNichol (Canada, 1978); source: (as 7 above). "for Greta Monach". an extremely literal take that casts the reversed expectations of its sound envelopes into starker relief. readers: curry, Larwill, Pirie, Robert
2nd 1/2
17. BALLADS OF THE RESTLESS ARE, bpNichol (Canada, 1967?); source: monograph (2nd edition, Ottawa, Curvd H&z, 2oo6). "two versions/common source" of elemental theme & variations, here arranged by curry as comparative simultaneity in a "quartet for 2 voices". readers: curry, Robert
18. Mon Olivine, Claude Gauvreau (Canada, 196-?); source: Lords of Winter and of Love, edited by Barry Callaghan (Toronto, Exile Editions, 1983). an intact excerpt from Boucliers mégalomanes, a suite of poetic corruptions. reader: Robert
19. TWO: Less Time, bpNichol (Canada, 1982?); source: THE CAPILANO REVIEW 31 (edited by Steven Smith & Richard Truhlar, North Vancouver, 1984). vowelless gridtext with variable reading paths. full quintet
2o. The Dangerous Kitchen, Frank Zappa (USA, 198-?); source: monograph (North Hollywood, Munchkin Music, 1984), with reference to many recorded versions, most specifically on Frank Zappa, The Man from Utopia (Los Angeles, Barking Pumpkin Records, 1983). while Zappa's lyrics are ordinarily accompanied by improvised electric jazzband meltdown boop-bop atonalities, we thought it worth a lampshade to simulate some verbal discontinuities for an alternate approach toward parasepsis. full quintet
21. The Tibetan Memory Trick, traditional/arranged by Howard Kaylan, Ian Underwood & Mark Volman (USA, 1974?); source: Flo & Eddie, ILLEGAL, IMMORAL AND FATTENING (Canadian pressing, Columbia Records Limited, 1975). everyone in the band gets put through the grinder on this one, just in case we might use it; it develops articulational skills, breath control & body memory. inserted into 2o above. full quintet
22. TAR TRAITS, Richard Truhlar (Canada, 1977); source: unpublished. curry's arrangement (2o12) of Truhlar's sound excavations from Steve McCaffery's THe TeN PoRtRaiTS (1975), itself derived from an "interview with some N.Y. prostitutes". McCaffery's note on his own compositional methods in Ow's Waif apply even moreso to Truhlar's furtherance of it: "The operating analogy in many cases was cubism: the process of fragmentation and reconstitution of a known thing in a fresh form." readers: curry, Pirie, Robert
23. THE MAN IN THE LOWER LEFT HAND CORNER OF THE PHOTOGRAPH, Mike Patton (USA, 1995); source: Mike Patton, ADULT THEMES for Voice (New York, Tzadik, 1996). transcribed by curry (2oo7) from solo construction for voice & tape recorder, the transcription (& reading) attempts to replicate the extreme edits, abruptions & machine stresses of the collage original. reader: curry
24. SHIFT 3, jwcurry/Peggy Lefler (Canada, 1982); source: monograph (Toronto, Curvd H&z, 1982). notes stated in reading. introduction: Pirie; readers: curry, Mordasiewicz
25. Four for Time, Alastair Larwill (Canada, 2o11?); source: unpublished. a determined hoiking up of the textures & procedures spurred by bpNichol's TWO: Less Time (19 above). full quintet
26. Calling The Vegetable Collected, jwcurry (Canada, 2oo8); surce: monograph (2nd edition, Ottawa, 1cent, 2oo8). hocketed statement that builds multiple syntactic paths as its fragments split further en cycle. readers: curry, Larwill, Pirie, Robert
27. Salmon River Soliloquy, david uu (Canada, 1973); source: david uu, High C (Toronto, Underwhich Editions, 1991). a rather straightforward poem siding with the fishes. reader: curry
28. THREE/FOUR: OF TIME, bpNichol (Canada, 1985); source: 5e échanges internationaux de poésie contemporaine, edited by Julien Blaine (Tarascon, L'A.G.R.I.P.P.A., 1988). Nichol's next-in-sequence "for the 4 Horsemen" to his TWO: Less Time (19 above). readers: curry, Mordasiewicz, Pirie, Robert
29. Againful Deployment, jwcurry (Canada, 1981?); source: monograph (Ottawa, 1cent, 2oo1). a "sound poem for an assemblyline of voicings" spiralling outta the conch into yr cochnea. full quintet
3o. My Olivine, ClaudeGauvreau (see 18 above)/translated by Ray Ellenwood (Canada, 197-?); source: ELLIPSIS 17 (edited by Richard Giguère & Larry Shouldice, Sherbrooke, 1975). Ellenwood's casting of Gauvreau's pornographic neologistics into an english setting, every bit as lurid as its progenital. reader: curry
31. WHITE TEXT SURE version ten, bpNichol (Canada, 1981); source: INDUSTRIAL SABOTAGE 63 (edited by jwcurry, Ottawa, Curvd H&z, 2oo8). a gridscore "for the Horsemen"'s massed vocal textures, based on Nichol's earlier (1966) collaboraton with David Aylward, WHITE SOUND. this version of this version reïncorporates randomly the colour panels of Nichol's interim revision, WHITE SOUND :a variant (1976). readers: curry, Larwill, Pirie, Robert
32. MUSHY PEAS, Steve McCaffery/bpNichol (England, 1978); source: Steve McCaffery & bpNichol, IN ENGLAND NOW THAT SPRING (Toronto, Aya Press, 1979). 6 pages of optophonetics as improvisational ground. readers: curry,Larwill
33. SIZERZ, Steve McCaffery (Canada, 1976); source: (as 19 above), with reference to Steve McCaffery, research on the mouth (Toronto, Underwhich Editions, 1979). severe elemental hocketing coupled with ordered layerings subjected to consistent randomizations. full quintet
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cover: bill bissett (source for score to 2 above)
also illustrated on rear cover, a page from 32 above
Very Big Thanks to Rachel Lindsey (who was to read with us but was prevented from doing so by a family tragedy), Sandra Bell (who made the studio rental painless), Gio Sampogna (camera duties) & Pearl Pirie (manning the door). Special Thanks, of course, to the band, whose abilities, enthusiasm & relentless rehearsal have in no small way helped shape the final form of tonight's take.
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filmed by Heinz Gloss
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see also:
announcements:
www.flickr.com/photos/48593922@N04/7454268492/
pagehalffull.com/pesbo/2012/05/04/messagio-galore-ix-toro...
www.facebook.com/events/285060778241711/
reviews:
The astounding Polikarpov I-16. One of a clutch restored by the recently departed Sir Tim Wally’s of NZ. Beautiful, aurally distinctive, diminutive and rare.
Festival Aural
Lunario del Auditorio Nacional
Polanco, D.F. México
16.05.13
More pictures here:
www.mehaceruido.com/2013/05/festival-aural-boris-liturgy-...
The Fire Engines : Candyskin / Meat Whiplash
Label + Logo details
pop:aural / Codex Communications (1981)
POP 010
Design: Bob Last / Malcolm Garrett
'Meat Whiplash' side includes the Codex Communications logo.
visit this place if you like to explore sounds
Visit this location at Aural by Morlita Quan and Bryn Oh in Second Life
Aurel Fenchurch Street City of London.
Aural was standing by the bus stand waiting for his shift to start, he saw me and we nodded at each other and as I walked past he said got any good photos. I had been taking shots of 20 Fenchurch Street and I stopped and we started talking about cameras. He had bought a camera about a year ago but had only used it a few times and was laughing about that and then we got talking about technology in general. He had about 500 CD's but they are now all in the charity shop as he has transferred them to some sort of digital thing. Then again with a big smile on his face he said he really didn't like technology and the way were all becoming so reliant on it. Aural loves ancient history and is going to Mexico on holiday very soon to see the pyramids and he was telling me some of his past trips to ancient sites and his admiration for the architects and builders from these times.
Then it was time for Aural to go and I quickly told him of the project and took a couple of shots then jumped his bus I wrote down his name and badgered him for his favourite song but unfortunately he couldn't think of just one.
www.flickr.com/groups/100strangers/
© All rights reserved please do not use on any other websites or blogs without my explicit permission.
Looked at the tunnel from 1/4 mile away and guessed the settings. Shame photos don't do noise.
One of two vents for the 525bhp V10 that powers this mid-engined R8
Florence Welch of Florence + The Machine performing at the Opera House, Cork, Ireland as part of the Murphy's Little Big Nights Out "Big Night Out" promotion.
I love this photo as it goes quite a way to expressing the energy and 'fire' Florence brings to the stage.
I've chosen this as one of my favourite shots. Check out the rest of my Showcase!
25 years ago, in 1993, I heard a programme about the Greek composer Iannis Xenakis (still alive in those days) on the radio. It opened my ears. Since then, whenever I saw a recording of his music being published I bought it. I now have more CDs and records with his name on them than by any other artist.
His music is rarely performed live and I didn’t have many opportunities because I am usually at the wrong place at the wrong time. So when I heard that his piece Jonchaeis will be played in Madrid one day after I was planning to travel to Europe anyway (for another concert), the decision was not a difficult one to make.
My colleagues asked me what kind of music it is. The short answer is “can the ocean be described?”
The long answer is, well, because much of the work of Xenakis is written for instruments such as violas, bassoons or pianos people usually file it under “classical”. But this is wrong. It’s like saying an egg is a fruit because it’s round. The Sex Pistols are closer to Mozart than he is. Other people say it’s not music at all. They are also wrong but at least they have a point. Listening to a piece by Xenakis is an experience more akin to walking through a thunderstorm than hearing a song.
Whereas most composers start as musicians, Xenakis was an architect before he wrote music. Knowing this helps to understand him. Just like an architect doesn’t think too much about how the bricks should be positioned in the wall he was mostly concerned about the big picture. About the whole structure of a piece, the movements of mass, the blocks of sound. Not so much about whether to put a ⅛ note B flat there instead of an A sharp. When he was not satisfied about performances of his music it was not because a musician hit the wrong note but because it was “not loud enough”.
Jonchaeis is not his best work – but one of his best. It is a relentless attack of sound. Sometimes it’s the brass at war with the strings but more often than not it’s the whole orchestra attacking the audience. And whereas other works have a climax and some even may have two, this one is a non-stop series of climaxes that leave you at the edge of your seat and with little space for breathing.
The piece was performed by the Orquesta Nacional de España in the Auditorio Nacional de Música by first class musicians. But only few people came to listen. I had the feeling there were more musicians on stage than audience on the ranks – and the truth is not far from that. The fact that Real Madrid played in the Champions League final on the very same evening didn’t help, I guess. I’m wondering how many weeks of hard work it must have taken the musicians to practice this piece only to perform it once for a handful of people half of whom didn’t get it because they came expecting a “classical” concert, not an aural assault …
The jeepney is perhaps the most popular mode of public transport. It's certainly the loudest, aurally AND visually.
At the end of WWII, after the Americans left the Philippines, hundreds of army surplus jeeps were left behind. They were then lavishly decorated and modified to carry more passengers and used as buses.
Jeepney drivers are known for their driving skills. It's amazing how they weave in and out of tight traffic.
According to Wikipedia, "the word jeepney is commonly believed to be a conflation of 'jeep' and 'jitney', or 'jeep' and 'knee', the latter referring to the jeepney's crowded face-to-face seating."