View allAll Photos Tagged Multichannel
Caroline Monnet: Transatlantic.
TRANSATLANTIC dokumentiert die 22-tägige Reise der Künstlerin auf einem Frachtschiff von Europa nach Kanada.
Die sphärischen Skulpturen verweisen u. a. auf Mondzyklen.
Caroline Monnet: Transatlantic.
TRANSATLANTIC documents the artist's 22-day journey on a cargo ship from Europe to Canada.
The spherical sculptures refer to lunar cycles, among other things.
And for those that care little for fashion:
FatFace is a British lifestyle brand, based in Hampshire, which creates product ranges across women's, men's, kids, footwear and accessories. FatFace is a multichannel retailer, with an international digital business as well as over 180 stores in the UK.
The business was founded in 1988 in French ski resort Méribel by Tim Slade, a former policeman, and business graduate Jules Leaver. The pair bought T-shirts wholesale, had them printed with designs specific to the resort, and sold them to other skiers on the slopes - In 1993 they opened their first shop, on London's Fulham Road; they named it "FatFace" after the Face de Bellevarde slope in Val-d'Isère.
Taunton, Somerset, UK.
OK I missed his feet (always a risk with shooting from the hip) but I liked the image and the contrast between his clothing and the "fashion" store in the background.
A TEAC A-3340S 4-channel tape deck's quartet of VU meters, output selectors, and record indicator lights.
This deck was introduced during the 1970s quadraphonic sound fad, the main giveaway in this picture being the Front and Rear labeling of the output (or monitoring) switches. During that era, tape (both reel-to-reel and, yes, the lowly eight-track cartridge) was the only way to get four discrete (independent) channels from any format. The humble LP phonograph record wasn't so lucky; read the Wikipedia article I linked above to marvel (?) at the variety of competing standards (most with the letter Q in their acronyms) and you'll see why the quadraphonic concept did not last long, although multichannel sound in the home would make a successful return decades later.
Machines like this one were also a home music producer's favorite, until recorders with eight or more tracks and, ultimately, versatile digital options took over. Companies catering to enthusiasts and audiophiles still make tape to satisfy those keeping old recorders alive in the quest to preserve that classic analog sound.
Explored February 17, 2024.
Hybrid Multichannel..... Sticker on CD case. 2.5" X 1.5 area on CD Case (FOV smaller of course because of angle)
Fat Face Limited, trading as FatFace, is a British lifestyle brand, based in Hampshire, which creates product ranges across women's, men's, kids, footwear and accessories. FatFace is a multichannel retailer, with an international digital business, and over 180 stores in the UK and 20 stores in the US. The business was founded in 1988 in French ski resort Méribel by Tim Slade, a former policeman, and business graduate Jules Leaver. The pair bought T-shirts wholesale, had them printed with designs specific to the resort, and sold them to other skiers, at first using the proceeds only to fund their own skiing. They spent the following years travelling to different ski resorts, where they continued to produce and sell ski and outdoor-related clothing. In 1993 they opened their first shop, on London's Fulham Road; they named it "FatFace" after the Face de Bellevarde slope in Val-d'Isère.In 2000, they sold 40% of the company to Livingbridge for £5 million. In 2005 Advent International, a private equity company, bought Livingbridge's interest in FatFace.
In 2007 FatFace was acquired, for £360 million, by private equity group Bridgepoint Capital; the sale netted Slade and Leaver £90 million. The company's sales were badly hit by the Great Recession, forcing Bridgepoint to write off half the company's value, but improved in 2010 and again in 2011. Bridgepoint planned to float a quarter of the company on the London stock exchange in 2014, hoping to raise £110 million, but later cancelled the flotation due to lack of confidence by prospective stockholders.
In September 2020, FatFace announced the completion of a lender led debt and capital restructuring of Fat Face Group Borrowings Limited (the "Fat Face Group"). Following the restructuring there was a change of control of the parent company of the FatFace Group ("FatFace" or "Company"), to Fulham Parent Limited. As a result of the restructuring, FatFace's ownership has changed hands from its majority shareholder, Bridgepoint, to the group's lenders through its newly formed parent company. As part of the restructure the debt profile of the group significantly reduced, from loans and borrowings (excluding lease liabilities) with a face value of £172.4 million at the completion date to £25.6 million at the period end with expiry dates between September 2023 and May 2024.
In March 2021 FatFace revealed to customers and staff that they had been subject to a ransomware attack in January 2021 and paid $2 million ransom to Conti cyber criminals to unlock encrypted data.
In September 2021, Liz Evans stepped down as CEO and was replaced by Will Crumbie. At that point, Crumbie had been with the business for eight years as CFO. Before FatFace he held senior financial and executive positions within the Walgreen Boots Alliance Group and P&O. Colin Porter is the Chairman.
In October 2023, Next plc announced that it had acquired FatFace for a total value of £115.2 million. Next hold 97% of the equity and FatFace's management will hold 3% of the business. In September 2024, online operations migrated to a new website hosted via Next's Total Platform.
Seismic interpretation
From AAPG Wiki
Development Geology Reference Manual
Simply defined, seismic interpretation is the science (and art) of inferring the geology at some depth from the processed seismic record. While modern multichannel data have increased the quantity and quality of interpretable data, proper interpretation still requires that the interpreter draw upon his or her geological understanding to pick the most likely interpretation from the many “valid” interpretations that the data allow.
The seismic record contains two basic elements for the interpreter to study. The first is the time of arrival of any reflection (or refraction) from a geological surface. The actual depth to this surface is a function of the thickness and velocity of overlying rock layers. The second is the shape of the reflection, which includes how strong the signal is, what frequencies it contains, and how the frequencies are distributed over the pulse. This information can often be used to support conclusions about the lithology and fluid content of the seismic reflector being evaluated.
The interpretation process can be subdivided into three interrelated categories: structural, stratigraphic, and lithologic. Structural seismic interpretation is directed toward the creation of structural maps of the subsurface from the observed three-dimensional configuration of arrival times. Seismic sequence stratigraphic interpretation relates the pattern of reflections observed to a model of cyclic episodes of deposition. The aim is to develop a chronostratigraphic framework of cyclic, genetically related strata. Lithologie interpretation is aimed at determining changes in pore fluid, porosity, fracture intensity, lithology, and so on from seismic data. Direct hydrocarbon indicators (DHI, HCIs, bright spots, or dim-outs) are elements employed in this lithologic interpretation process.
F-16C Fighting Falcon
Published September 16, 2015
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F-16C Fighting Falcon
Published September 2, 2015
Mission
Primary weapons system of the 20th Fighter Wing, the Lockheed-Martin F-16C Fighting Falcon Block 50 model is a compact, multi-role fighter aircraft. It is highly maneuverable and has proven itself in more than 30 years of operations including air-to-air combat and air-to-surface attack. It provides a relatively low-cost, high-performance weapon system for the United States and 25 friendly nations.
Only four USAF units operate the C model: 20th Fighter Wing, Shaw Air Force Base, S.C. (three squadrons); 169th Fighter Wing, Joint National Guard Base McEntire, S.C. (one squadron); 52nd Fighter Wing, Spangdahlem Air Base, Germany (one squadron); and 35th Fighter Wing, Misawa AB, Japan (two squadrons).
Features
In an air combat role, the F-16's maneuverability and combat radius (distance it can fly to enter air combat, stay, fight and return) until recently have exceed that of all potential adversary fighter aircraft. It can locate targets in all weather conditions and detect low flying aircraft in radar ground clutter. In an air-to-surface role, the F-16 can fly more than 500 miles (860 kilometers), deliver its weapons with superior accuracy, defend itself against enemy aircraft, and return to its starting point. An all-weather capability allows it to accurately deliver ordnance during non-visual bombing conditions.
In designing the F-16, advanced aerospace science and proven reliable systems from other aircraft such as the F-15 and F-111 were selected. These were combined to simplify the airplane and reduce its size, purchase price, maintenance costs and weight. The light weight of the fuselage is achieved without reducing its strength. With a full load of internal fuel, the F-16 can withstand up to nine G's -- nine times the force of gravity -- which exceeds the capability of other current fighter aircraft.
The cockpit and its bubble canopy give the pilot unobstructed forward and upward vision, and greatly improved vision over the side and to the rear. The seat-back angle was expanded from the usual 13 degrees to 30 degrees, increasing pilot comfort and gravity force tolerance. The pilot has excellent flight control of the F-16 through its "fly-by-wire" system. Electrical wires relay commands, replacing the usual cables and linkage controls. For easy and accurate control of the aircraft during high G-force combat maneuvers, a side stick controller is used instead of the conventional center-mounted stick. Hand pressure on the side stick controller sends electrical signals to actuators of flight control surfaces such as ailerons and rudder.
Avionics systems include a highly accurate enhanced global positioning and inertial navigation systems, or EGI, in which computers provide steering information to the pilot. The plane has UHF and VHF radios plus an instrument landing system. It also has a warning system and modular countermeasure pods to be used against airborne or surface electronic threats. The fuselage has space for additional avionics systems.
Background
The F-16A, a single-seat model, first flew in December 1976. The first operational unit was delivered in January 1979 to the 388th Tactical Fighter Wing at Hill Air Force Base, Utah.
The F-16B and D, two-seat versions, have tandem cockpits that are about the same size as the one in the A model. The bubble canopy is lengthened to cover the second cockpit. To make room for the second cockpit, the forward fuselage fuel tank and avionics growth space were reduced. During training, the forward cockpit is used by a student pilot with an instructor pilot in the rear cockpit.
All F-16s delivered since November 1981 have built-in structural and wiring provisions and systems architecture that permit expansion of the multirole flexibility to perform precision strike, night attack and beyond-visual-range interception missions. This improvement program led to the F-16C and D aircraft, which are the single- and two-place replacements to the F-16A/B, and have the latest cockpit control and display technology. At this writing no active, Air National Guard and Air Force Reserve units still operate the F-16A/B.
The F-16 was built under an unusual agreement creating a consortium between the United States and four NATO countries: Belgium, Denmark, the Netherlands and Norway. These countries jointly produced with the United States an initial 348 F-16s for their air forces. Final airframe assembly lines were located in Dallas, Belgium and the Netherlands. The consortium's F-16s are assembled from components manufactured in all five countries. Belgium also provides final assembly of the F100 engine used in the European F-16s. Recently, Portugal joined the consortium. The long-term benefits of this program will be technology transfer among the nations producing the F-16, and a common-use aircraft for NATO nations. This program increases the supply and availability of repair parts in Europe and improves the F-16's combat readiness.
USAF F-16 multirole fighters were deployed to the Persian Gulf in 1991 in support of Operation Desert Storm, where more sorties were flown than with any other aircraft. These fighters were used to attack airfields, military production facilities, Scud missiles sites and a variety of other targets.
During Operation Allied Force, USAF F-16 multirole fighters flew a variety of missions to include suppression of enemy air defense, offensive counter air, defensive counter air, close air support and forward air controller missions. Mission results were outstanding as these fighters destroyed radar sites, vehicles, tanks, opposition aircraft and facilities.
(From Lockheed-Martin "Code 1" magazine, August 2015)
F-16 BLOCK 50/52 "WILD WEASEL Plus"
The first Block 50/52 was delivered to the US Air Force in 1991, and reached initial operational status in 1994. The Block 50/52 F-16 is recognized for its ability to carry the AGM-88 High-speed Anti-Radiation Missile in the suppression of enemy air defenses, or SEAD, missions. The F-16 can carry as many as four HARMs.
An avionics launcher interface computer allows the F-16 to launch the HARM missile. US Air Force F-16s have been upgraded to carry the HARM Targeting System, or HTS, pod on the left intake hard point so it can be combined with laser targeting pods designed to fit on the right intake hard point. The HTS pod contains a hypersensitive receiver that detects, classifies, and ranges threats and passes the information to the HARM and to the cockpit displays. With the targeting system, the F-16 has full autonomous HARM capability.
The Block 50/52 F-16 continued to be improved, and the current aircraft sold to the Foreign Military Sales customers is equipped with the APG-68(V9) radar, which offers longer-range detection against air targets and higher reliability. The Block 50/52 now includes embedded global positioning system/inertial navigation system, a larger capacity data transfer cartridge, a digital terrain system data transfer cartridge, a cockpit compatible with night vision systems, an improved data modem, an AL-56M advanced radar warning receiver, an ALE-47 threat-adaptive countermeasure system, satellite communication system and an advanced interrogator for identifying friendly aircraft.
ln the cockpit, an upgraded programmable display generator has four times the memory and seven times the processor speed of the system it replaces. New antennas increase reception ranges. Some Cs have satellite communication capability.
With a maximum gross takeoff weight around 39,000 pounds, the Block 50/52 is powered by increased performance engines: the General Electric F110-GE-129 and the Pratt & Whitney F100-PW-229, each rated to deliver over 29,000 pounds of thrust in afterburner. Block 50/52 are the first F-16 versions to fully integrate the AGM-84 Harpoon anti-shipping missile.
New-production Block 50/52 aircraft ordered after 1996 include color multi-function displays, the modular mission computer, and a multichannel video recorder. All international versions of the Block 50/52 have LANTiRN capability. More than 800 Block 50/52s have been delivered from production lines in Fort Worth, Korea, and Turkey. The Fort Worth production line is currently the only active F-16 line. The other production lines have completed their production runs and been shut down.
Cost new: Approximately $20 million ($30 million in 2014 dollars). (Source: Lockheed-Martin)
General Characteristics (F-16C)
Primary Function: Suppression and/or destruction of enemy air defenses, air and ground interdiction
Contractor: Lockheed Martin Corporation
Power Plant: One Pratt and Whitney F100-PW-200/220/229 or General Electric F110-GE-100/129
Thrust: 29,000 pounds
Wingspan: 32 feet, 8 inches (9.8 meters)
Length: 49 feet, 5 inches (14.8 meters)
Height: 16 feet (4.8 meters)
Weight: 19,700 pounds without fuel (8,936 kilograms)
Maximum Takeoff Weight: 39,000 pounds (17,690 kilograms)
Payload: Two 2,000-pound bombs, two AIM-9, two AIM-120 and two 2400-pound external fuel tanks
Speed: 1,500 mph (Mach 2 at altitude)
Range: More than 2,002 miles ferry range (1,740 nautical miles)
Ceiling: Above 50,000 feet (15 kilometers)
Armament: One M-61A1 20mm multibarrel cannon with 500 rounds; external stations can carry up to six air-to-air missiles, targeting and visual acquisition pods, conventional air-to-air and air-to-surface munitions and electronic countermeasure pods
Crew: F-16C, one; F-16D, one or two
Initial operating capability: F-16C/D Block 50-52, 1994
Production: F-16C, more than 800.
www.shaw.af.mil/About-Us/Fact-Sheets/Display/Article/6638...
Fleeting Surfaces (2022)
The work shows nebulous environments where fragments of landscapes reveal and dissipate themselves. Evanescent silhouettes emerge from the blur, noise and compression artifacts that recall the materiality of the apparatus and its eventual obsolescence.
This project was made in the context of a partnership between Place des Arts and the Conseil des arts et des lettres du Québec.
francois-quevillon.com/w/?p=4140
Surfaces fuyantes (2022)
L’œuvre propose une avancée dans des milieux nébuleux où se révèlent et se dissipent des fragments de paysages. Des silhouettes évanescentes émergent du flou, du bruit et d’artéfacts de compression qui rappellent la matérialité du dispositif et son éventuelle obsolescence.
Ce projet a été réalisé dans le cadre d’un partenariat entre la Place des Arts et le Conseil des arts et des lettres du Québec.
Here is my husband's hi-fi and HT system
Digital Source: Marantz SuperAudio CD Player SA-11 S1
Stereo Preamplifier: Electrocompaniet EC 4.8 Reference Preamplifier
Power Amplifier: Electrocompaniet AW 2x120
Electrostatic Headphones Tube Amplifier: STAX SRM T-1
Electrostatic Headphones: STAX Lambda Nova Signature & STAX SR-Sigma Professional
Loudspeakers: Totem Acoustic Forest
Audio Server: Olive Audio 4HD (2 TB)
Digital Transport: Wadia 170i
DAC: Cambridge Audio DAC Magic
Interconnection Cables: NORDOST Heimdall (Balanced XLR connectors)
Digital Cable: Analysis Plus Digital Oval
Speaker Cables: NORDOST Heimdall (Bi-Wiring)
Plasma TV: Pioneer Kuro PDP-LX508D
Blu-Ray Player: Pioneer BDP LX70A
Multichannel AV Preamplifier: Marantz AV8003
Multichannel Main Amplifier: Marantz MM8003
Front Channels: Totem Acoustic Mite on Totem Stands
Center Channel: Totem Acoustic Mite-T Center
Rear Channels: Totem Acoustic Mite-T on Totem Stands
Subwoofer: Totem Acoustic DreamCatcher Sub
HT Interconnection Cables: Cambridge Audio 900 Series
HT Loudspeakers cables: NORDOST Super FlatLine (Front and Center), QED Ultra-Flat (Rear)
HDMI cables: QED Reference HDMI
Energy Distributor: Systems & Magic Eight
Mains Cables: Systems & Magic Blackwire and Electrocompaniet Power Cord
Mains Filters: Systems & Magic Blacknoise 500
Multimedia HD: LaCie LaCinema Classic HD (1 TB)
Media Player: Western Digital WD HD TV Live
Tweaks: Totem Acoustic Beaks
Satellite data reveal how the new record low Arctic sea ice extent, from Sept. 16, 2012, compares to the average minimum extent over the past 30 years (in yellow). Sea ice extent maps are derived from data captured by the Scanning Multichannel Microwave Radiometer aboard NASA's Nimbus-7 satellite and the Special Sensor Microwave Imager on multiple satellites from the Defense Meteorological Satellite Program.
Credit: NASA/Goddard Scientific Visualization Studio
----
The frozen cap of the Arctic Ocean appears to have reached its annual summertime minimum extent and broken a new record low on Sept. 16, the National Snow and Ice Data Center (NSIDC) has reported. Analysis of satellite data by NASA and the NASA-supported NSIDC at the University of Colorado in Boulder showed that the sea ice extent shrunk to 1.32 million square miles (3.41 million square kilometers).
The new record minimum measures almost 300,000 square miles less than the previous lowest extent in the satellite record, set in mid-September 2007, of 1.61 million square miles (4.17 million square kilometers). For comparison, the state of Texas measures around 268,600 square miles.
NSIDC cautioned that, although Sept. 16 seems to be the annual minimum, there's still time for winds to change and compact the ice floes, potentially reducing the sea ice extent further. NASA and NSIDC will release a complete analysis of the 2012 melt season next month, once all data for September are available. To read more go to: www.nasa.gov/topics/earth/features/2012-seaicemin.html
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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Wonderwerp #60
Studio Loos, Den Haag 2015
Based loosely on Ganzfeld experiments (a technique used in parapsychology in the 1970s as a way of invoking telepathy), Color Field Immersion involves masking the audience with semi-transparent blindfolds onto which light projections are mapped. Similar to sensory deprivation, Color Field Immersion provides perceptual deprivation, replacing the entirety of each audience member’s visual field with washes of color, line, and movement – often inducing hallucinations as the brain seeks to replace lost stimuli. Flipping the traditional performer-audience relationship, the internalized experience becomes the location of the performance. Combined with rich, textural soundscapes, Color Field Immersion creates a deeply immersive perceptual architecture of sound and vision.
Doron Sadja is an American artist, composer, and curator whose work explores modes of perception and the experience of sound, light, and space. Working primarily with multichannel spatialized sound – combining pristine electronics with lush romantic synthesizers, extreme frequencies, dense noise, and computer-enhanced acoustic instruments, Sadja creates post-human, hyper-emotive sonic architecture. Although each of Sadja’s works are striking in their singular and focused approach, his output is diverse: spanning everything from immersive multichannel sound pieces to sexually provacative performance / installation works, and stroboscopic smoke, mirror, laser, and projection shows. Doron has published music on 12k, ATAK, and Shinkoyo records, and has performed/exhibited at PS1 MoMa, Miami MOCA, D’amelio Terras Gallery, Cleveland Museum of Art, Issue Project Room, and Roulette amongst others. Sadja co-founded Shinkoyo Records and the West Nile performing arts venue in Brooklyn (RIP), and has curated various new music/sound festivals around NYC, including the multichannel SOUNDCORRIDORS Festival, Easy Not Easy, John Cage Musicircus, and more.
I see snowball fights and afternoon delights...
An impressive storm of continental extent - Breathtaking Imagery!! Way to GOES!!
High winds, heavy snows and ice are expected with a strengthening storm system impacting the northeast, with severe weather possible over the Mid-Atlantic on Wednesday. A surface low over the Ohio Valley will rapidly deepen while it tracks across the northern Mid-Atlantic states and off the New Jersey coast on Wednesday. Strong winds surrounding the strengthening storm will pull an abundance of Gulf and Atlantic moisture inland, fueling a swath of moderate to heavy snows to the northwest of the low track. Widespread accumulations are expected from the Lower Great Lakes to northern New England with some locations possibly measuring a foot or more of fresh snow. A mix of sleet and freezing rain are expected closer to the coast where warmer Atlantic air will be moving in aloft. Farther south, strong to severe thunderstorms will be possible with the storm's dynamic cold front sweeping through the Mid-Atlantic states. Conditions should gradually clear out over the Northeast on Thursday as the surface low slowly tracks up Eastern Seaboard and into the Canadian Maritimes, but strong northwesterly flow behind the storm will make for a blustery day across much of the Northeast and Mid-Atlantic states.
This image was taken by GOES East at 1715Z on March 12, 2014.
Credit: NASA/NOAA via NOAA Environmental Visualization Laboratory
_________________________________________________________
Geostationary Operational Environmental Satellite
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Geostationary_Operational_Environme...
The GOES N satellite was launched on a Delta IV rocket from SLC-37B, Cape Canaveral Air Force Station, Florida
The Geostationary Satellite system (GOES), operated by the United States National Environmental Satellite, Data, and Information Service (NESDIS), supports weather forecasting, severe storm tracking, and meteorology research. Spacecraft and ground-based elements of the system work together to provide a continuous stream of environmental data. The National Weather Service (NWS) uses the GOES system for its United States weather monitoring and forecasting operations, and scientific researchers use the data to better understand land, atmosphere, ocean, and climate interactions.
The GOES system uses geosynchronous satellites which—since the launch of SMS-1 in 1974—have been a basic element of U.S. weather monitoring and forecasting.
Contents
1 Satellites
2 Purpose
3 Payload
4 Satellite designations
5 Future
6 History and status of GOES satellites
7 See also
8 Further reading
9 References
10 External links
Satellites[edit]
GOES-8, a decommissioned United States weather satellite.
Four GOES satellites are currently available for operational use:
GOES-12 is designated GOES-South, currently located at 60°W .[1]
GOES 13 is designated GOES-East, currently located at 75°W. It was placed in orbit on 24 May 2006, underwent Post-Launch Testing through early 2007, then replaced GOES 12 as GOES-East.[2]
GOES 14 is currently in storage at 90°W. It was temporarily designated GOES-East due to technical difficulties with GOES-13, and moved toward the GOES-East location, but after resolution of the GOES-13 anomaly GOES 14 returned to storage.[3] It was placed in orbit on 7 July 2009, underwent Post-Launch Testing until December 2009 and then was placed in on-orbit storage at 105° W.[2]
GOES 15 is designated GOES-West, currently located at 135°W over the Pacific Ocean.[4]
Several GOES satellites are still in orbit, either inactive or re-purposed. GOES-3 is no longer used for weather operations, but is a critical part of the communication links between the United States and Amundsen-Scott South Pole Station. Geostationary satellites cannot ordinarily be seen at all from the poles, but they require station-keeping fuel to keep them stationary over the equator. When station-keeping fuel runs out, solar and lunar perturbations increase the satellite's inclination so that its ground track begins to describe a figure-8 in the north-south direction. This usually ends the satellite's primary mission. But when the inclination is high enough, the satellite may begin to rise above the polar horizons at the extremes of the figure-8, as is the case for GOES-3. A nine-meter dish was constructed at the station, and communication with the satellite is currently possible for about five hours per day. Data rates are around 2.048 Mbit/s bi-directional under optimum conditions.
GOES-8 (GOES-East when it was in operation) is in a parking orbit, currently drifting about 4°W daily.[5] It was decommissioned on April 1, 2003, and deactivated on May 5, 2004, after the failure of its propulsion system.[6]
Weather data was lost for 13 days from GOES-12 on December 4, 2007 when it performed a standard station-keeping maneuver. GOES-11 initially took "full disk" images to cover the lost data until a contingency plan could be implemented.[7] On December 5, 2007, GOES-10 was moved from South America operations to temporarily replace GOES-12 as the GOES-EAST operational satellite.[8] On 9 December, communication with GOES-10 was also temporarily lost, but communication was resumed via a backup antenna.[9] GOES-12 was successfully reactivated and moved back to normal operation following a thrust maneuver on 17 December.[10] The trouble was traced to a leaking thruster valve, which pushed the satellite incorrectly. Emergency procedures were executed to cut off the valve, and a redundant thruster was activated to restore the location of the satellite.[11]
Coverage map of GOES 11 and 12 in 2007 (before GOES 11 was shut down).
GOES-10 was decommissioned on December 2, 2009 and was boosted to a graveyard orbit. It no longer had the fuel for required maneuvers to keep it on station.[12] It joins GOES 8 and 9 which are already in graveyard orbits. With the cessation of GOES-10's duties, GOES-13 has replaced GOES-12 as "GOES-East". GOES-12 was then moved to 60° W and resume South American duties for GOES-10.
GOES-11 had a partial failure 6 Dec 2011, was decommissioned on 16 Dec 2011 and was boosted into a graveyard orbit. GOES 15 was moved to 135° W as GOES West.
GOES-13 was previously out of service, from 22 May to 9 June 2013, due to technical difficulties following a micrometeroid collision.[3] It is designated GOES-East, and is currently located at 75°W. It provides most of the U.S. weather information.[13]
Purpose
GOES data relay pattern.
Designed to operate to geostationary orbit, 35,790 km (22,240 statute miles) above the earth, thereby remaining stationary with respect to a point on the ground, the advanced GOES I–M spacecraft continuously view the continental United States, neighboring environs of the Pacific and Atlantic Oceans, and Central, South America and southern Canada. The three-axis, body-stabilized spacecraft design enables the sensors to "stare" at the earth and thus more frequently image clouds, monitor earth's surface temperature and water vapour fields, and sound the atmosphere for its vertical thermal and vapor structures. Thus the evolution of atmospheric phenomena can be followed, ensuring real-time coverage of short-lived dynamic events, especially severe local storms and tropical cyclones—two meteorological events that directly affect public safety, protection of property, and ultimately, economic health and development. The importance of this capability has been exemplified during hurricanes Hugo (1989) and Andrew (1992).
The GOES I–M series of spacecraft are the principal observational platforms for covering such dynamic weather events and the near-earth space environment for the 1990s and into the 21st century. These advanced spacecraft enhance the capability of the GOES system to continuously observe and measure meteorological phenomena in real time, providing the meteorological community and atmospheric scientists greatly improved observational and measurement data of the Western Hemisphere. In addition to short-term weather forecasting and space environmental monitoring, these enhanced operational services also improve support for atmospheric science research, numerical weather prediction models, and environmental sensor design and development. Data is received via the NOAA Command and Data Acquisition ground station at Wallops Island, Virginia[14] The GOES satellites are controlled from the Satellite Operations Control Center (SOCC) located in Suitland, Maryland. During significant weather or other events the normal schedules can be altered to provide coverage requested by the National Weather Service and other agencies for Jenn Meyer.
Space Weather -- March 2012.
GOES spacecraft also provide a platform for the Solar X-Ray Imager (SXI), and space environment monitoring (SEM) instruments. The SEM measures in situ the effect of the sun on the near-earth solar-terrestrial electromagnetic environment, providing real-time data to the Space Environment Services Center (SESC). The SESC, as the nation’s “space weather” service, receives, monitors, and interprets a wide variety of solar-terrestrial data, and issues reports, alerts and forecasts for special events such as solar flares or geomagnetic storms. This information is important to the operation of military and civilian radio wave and satellite communication and navigation systems, as well as electric power networks, and to the mission of geophysical explorers, Shuttle and Space Station astronauts, high-altitude aviators, and scientific researchers. The SXI provides high-cadence monitoring of large scale solar structures to supports SESC's monitoring mission. However, the SXI unit on GOES-12 has been rendered inoperable from malfunctions, and the unit on GOES-13 was damaged by a solar flare in 2006.
Payload
The main mission is carried out by the primary payload instruments, the Imager and the Sounder. The Imager is a multichannel instrument that senses infrared radiant energy and visible reflected solar energy from the Earth's surface and atmosphere. The Sounder provides data for vertical atmospheric temperature and moisture profiles, surface and cloud top temperature, and ozone distribution.
Other instruments on board the spacecraft are the ground-based meteorological platform data collection and relay, and the space environment monitor. The latter consists of a magnetometer, an X-ray sensor, a high energy proton and alpha detector, and an energetic particles sensor, all used for in-situ surveying of the near-earth space environment. Satellites numbered 12 and greater also carry a solar x-ray imager (SXI) used for two-dimensional imaging of the Sun. The GOES 13-15 series also have a sun-pointed extreme ultraviolet sensor.
In addition, the GOES satellites carry Emergency Position-Indicating Radio Beacon (EPIRB) and Emergency Locator Transmitter (ELT) receivers, which are used for search-and-rescue purposes by the U.S. Air Force Rescue Coordination Center.
I have spent several weeks experimenting with alternate methods of combining Hydrogen alpha and LRGB data. I am in new territory that hasn't been explored before. I will be demonstrating this new technique at one of my talks at Okie-Tex Star Party in September.
Details:
HaLRGB, Ha: 10X1200, LRGB: 10X600 unbinned (40 frames)
Telescope: William Optics Star 71
Camera: QHY9M
Filters: Astrodon LRGB & 3nm Ha
Mount: Takahashi EM-11
Location: Cherry Hill Observatory
Dates: March 23-28, 2015
The HaLRGB combination data was created in PixInsight using the Multichannel Synthesis HaRVB-AIP script. That data was processed in PixInsight and Photoshop CC 2015.
www.youtube.com/watch?v=3eRiDSbuMio&feature=related
The S-300VM "Antey-2500" (NATO reporting name SA-23 Gladiator\Giant) is a new Russian anti-ballistic missile system.
It is designed to defeat short- and medium-range ballistic missiles with a launch range of up to 2,500 km, aeroballistic and cruise missiles, strategic and tactical aircraft, as well as loitering ECM platforms and highprecision weapon systems in multiple air threat conditions, a complex air situation and severe ECM environment. In 2011, the Russian army will receive an improved version called S-300V4, reportedly based on S-300VM system.
Missile
The 9M82M missile is intended to defeat tactical, theater and medium range ballistic missiles, as well as aerodynamic targets at a range of up to 200 km. The Antey-2500 system is mounted on tracked cross-country vehicles provided with self-contained power supply and navigation systems, surveying and positioning equipment. The missile is controlled throughout the entire flight trajectory.
System CharacteristicsThe Antey-2500 air defense missile system features:
high degree of battle performance automation owing to high-speed digital computers;
phased array radars;
advanced radar data processing methods;
high ECM immunity;
high ability of autonomous operation;
high mobility;
high fire power potential, irrespective of air attack tactics or sequence;
vertical launch from a special transport launch canister;
maintenance-free operation of missiles for at least ten years;
capability to defeat ballistic missile individual warheads flying at speeds of up to 4,500 m/s;
inertial guidance with radio command update and semiactive homing at the terminal phase;
focused detonation of the missile warhead.
The Antey-2500 system comprises:
command post;
circular scan radar;
sector scan radar;
multichannel missile guidance station (MMGS) (4);
9A83M launcher (24);
9A84M loader-launcher (24);
9M82M air defense missiles;
9M83M air defense missiles;
maintenance vehicles;
maintenance and repair vehicles;
group SPTA set;
electronic trainer for MMGS operators;
transporter vehicles;
set of missiles handling equipment
This image is excerpted from a U.S. GAO report:
www.gao.gov/products/GAO-16-349
LOCAL MEDIA ADVERTISING: FCC Should Take Action to Ensure Television Stations Publicly File Advertising Agreements
a) This figure collapses BIA/Kelsey's mobile, online, email, and Internet yellow pages categories into "Internet-based."
b) Out-of-home is a category of advertising that includes billboards and other displays in public places.
c) Multichannel video programming distributors are cable, satellite, and telecommunications subscription television services.
d) This figure collapses BIA/Kelsey's magazines and print yellow pages categories into "other print."
I see snowball fights and afternoon delights...
An impressive storm of continental extent - Breathtaking Imagery!! Way to GOES!!
High winds, heavy snows and ice are expected with a strengthening storm system impacting the northeast, with severe weather possible over the Mid-Atlantic on Wednesday. A surface low over the Ohio Valley will rapidly deepen while it tracks across the northern Mid-Atlantic states and off the New Jersey coast on Wednesday. Strong winds surrounding the strengthening storm will pull an abundance of Gulf and Atlantic moisture inland, fueling a swath of moderate to heavy snows to the northwest of the low track. Widespread accumulations are expected from the Lower Great Lakes to northern New England with some locations possibly measuring a foot or more of fresh snow. A mix of sleet and freezing rain are expected closer to the coast where warmer Atlantic air will be moving in aloft. Farther south, strong to severe thunderstorms will be possible with the storm's dynamic cold front sweeping through the Mid-Atlantic states. Conditions should gradually clear out over the Northeast on Thursday as the surface low slowly tracks up Eastern Seaboard and into the Canadian Maritimes, but strong northwesterly flow behind the storm will make for a blustery day across much of the Northeast and Mid-Atlantic states.
This image was taken by GOES East at 1715Z on March 12, 2014.
Credit: NASA/NOAA via NOAA Environmental Visualization Laboratory
_________________________________________________________
Geostationary Operational Environmental Satellite
From Wikipedia, the free encyclopedia
en.wikipedia.org/wiki/Geostationary_Operational_Environme...
The GOES N satellite was launched on a Delta IV rocket from SLC-37B, Cape Canaveral Air Force Station, Florida
The Geostationary Satellite system (GOES), operated by the United States National Environmental Satellite, Data, and Information Service (NESDIS), supports weather forecasting, severe storm tracking, and meteorology research. Spacecraft and ground-based elements of the system work together to provide a continuous stream of environmental data. The National Weather Service (NWS) uses the GOES system for its United States weather monitoring and forecasting operations, and scientific researchers use the data to better understand land, atmosphere, ocean, and climate interactions.
The GOES system uses geosynchronous satellites which—since the launch of SMS-1 in 1974—have been a basic element of U.S. weather monitoring and forecasting.
Contents
1 Satellites
2 Purpose
3 Payload
4 Satellite designations
5 Future
6 History and status of GOES satellites
7 See also
8 Further reading
9 References
10 External links
Satellites[edit]
GOES-8, a decommissioned United States weather satellite.
Four GOES satellites are currently available for operational use:
GOES-12 is designated GOES-South, currently located at 60°W .[1]
GOES 13 is designated GOES-East, currently located at 75°W. It was placed in orbit on 24 May 2006, underwent Post-Launch Testing through early 2007, then replaced GOES 12 as GOES-East.[2]
GOES 14 is currently in storage at 90°W. It was temporarily designated GOES-East due to technical difficulties with GOES-13, and moved toward the GOES-East location, but after resolution of the GOES-13 anomaly GOES 14 returned to storage.[3] It was placed in orbit on 7 July 2009, underwent Post-Launch Testing until December 2009 and then was placed in on-orbit storage at 105° W.[2]
GOES 15 is designated GOES-West, currently located at 135°W over the Pacific Ocean.[4]
Several GOES satellites are still in orbit, either inactive or re-purposed. GOES-3 is no longer used for weather operations, but is a critical part of the communication links between the United States and Amundsen-Scott South Pole Station. Geostationary satellites cannot ordinarily be seen at all from the poles, but they require station-keeping fuel to keep them stationary over the equator. When station-keeping fuel runs out, solar and lunar perturbations increase the satellite's inclination so that its ground track begins to describe a figure-8 in the north-south direction. This usually ends the satellite's primary mission. But when the inclination is high enough, the satellite may begin to rise above the polar horizons at the extremes of the figure-8, as is the case for GOES-3. A nine-meter dish was constructed at the station, and communication with the satellite is currently possible for about five hours per day. Data rates are around 2.048 Mbit/s bi-directional under optimum conditions.
GOES-8 (GOES-East when it was in operation) is in a parking orbit, currently drifting about 4°W daily.[5] It was decommissioned on April 1, 2003, and deactivated on May 5, 2004, after the failure of its propulsion system.[6]
Weather data was lost for 13 days from GOES-12 on December 4, 2007 when it performed a standard station-keeping maneuver. GOES-11 initially took "full disk" images to cover the lost data until a contingency plan could be implemented.[7] On December 5, 2007, GOES-10 was moved from South America operations to temporarily replace GOES-12 as the GOES-EAST operational satellite.[8] On 9 December, communication with GOES-10 was also temporarily lost, but communication was resumed via a backup antenna.[9] GOES-12 was successfully reactivated and moved back to normal operation following a thrust maneuver on 17 December.[10] The trouble was traced to a leaking thruster valve, which pushed the satellite incorrectly. Emergency procedures were executed to cut off the valve, and a redundant thruster was activated to restore the location of the satellite.[11]
Coverage map of GOES 11 and 12 in 2007 (before GOES 11 was shut down).
GOES-10 was decommissioned on December 2, 2009 and was boosted to a graveyard orbit. It no longer had the fuel for required maneuvers to keep it on station.[12] It joins GOES 8 and 9 which are already in graveyard orbits. With the cessation of GOES-10's duties, GOES-13 has replaced GOES-12 as "GOES-East". GOES-12 was then moved to 60° W and resume South American duties for GOES-10.
GOES-11 had a partial failure 6 Dec 2011, was decommissioned on 16 Dec 2011 and was boosted into a graveyard orbit. GOES 15 was moved to 135° W as GOES West.
GOES-13 was previously out of service, from 22 May to 9 June 2013, due to technical difficulties following a micrometeroid collision.[3] It is designated GOES-East, and is currently located at 75°W. It provides most of the U.S. weather information.[13]
Purpose
GOES data relay pattern.
Designed to operate to geostationary orbit, 35,790 km (22,240 statute miles) above the earth, thereby remaining stationary with respect to a point on the ground, the advanced GOES I–M spacecraft continuously view the continental United States, neighboring environs of the Pacific and Atlantic Oceans, and Central, South America and southern Canada. The three-axis, body-stabilized spacecraft design enables the sensors to "stare" at the earth and thus more frequently image clouds, monitor earth's surface temperature and water vapour fields, and sound the atmosphere for its vertical thermal and vapor structures. Thus the evolution of atmospheric phenomena can be followed, ensuring real-time coverage of short-lived dynamic events, especially severe local storms and tropical cyclones—two meteorological events that directly affect public safety, protection of property, and ultimately, economic health and development. The importance of this capability has been exemplified during hurricanes Hugo (1989) and Andrew (1992).
The GOES I–M series of spacecraft are the principal observational platforms for covering such dynamic weather events and the near-earth space environment for the 1990s and into the 21st century. These advanced spacecraft enhance the capability of the GOES system to continuously observe and measure meteorological phenomena in real time, providing the meteorological community and atmospheric scientists greatly improved observational and measurement data of the Western Hemisphere. In addition to short-term weather forecasting and space environmental monitoring, these enhanced operational services also improve support for atmospheric science research, numerical weather prediction models, and environmental sensor design and development. Data is received via the NOAA Command and Data Acquisition ground station at Wallops Island, Virginia[14] The GOES satellites are controlled from the Satellite Operations Control Center (SOCC) located in Suitland, Maryland. During significant weather or other events the normal schedules can be altered to provide coverage requested by the National Weather Service and other agencies for Jenn Meyer.
Space Weather -- March 2012.
GOES spacecraft also provide a platform for the Solar X-Ray Imager (SXI), and space environment monitoring (SEM) instruments. The SEM measures in situ the effect of the sun on the near-earth solar-terrestrial electromagnetic environment, providing real-time data to the Space Environment Services Center (SESC). The SESC, as the nation’s “space weather” service, receives, monitors, and interprets a wide variety of solar-terrestrial data, and issues reports, alerts and forecasts for special events such as solar flares or geomagnetic storms. This information is important to the operation of military and civilian radio wave and satellite communication and navigation systems, as well as electric power networks, and to the mission of geophysical explorers, Shuttle and Space Station astronauts, high-altitude aviators, and scientific researchers. The SXI provides high-cadence monitoring of large scale solar structures to supports SESC's monitoring mission. However, the SXI unit on GOES-12 has been rendered inoperable from malfunctions, and the unit on GOES-13 was damaged by a solar flare in 2006.
Payload
The main mission is carried out by the primary payload instruments, the Imager and the Sounder. The Imager is a multichannel instrument that senses infrared radiant energy and visible reflected solar energy from the Earth's surface and atmosphere. The Sounder provides data for vertical atmospheric temperature and moisture profiles, surface and cloud top temperature, and ozone distribution.
Other instruments on board the spacecraft are the ground-based meteorological platform data collection and relay, and the space environment monitor. The latter consists of a magnetometer, an X-ray sensor, a high energy proton and alpha detector, and an energetic particles sensor, all used for in-situ surveying of the near-earth space environment. Satellites numbered 12 and greater also carry a solar x-ray imager (SXI) used for two-dimensional imaging of the Sun. The GOES 13-15 series also have a sun-pointed extreme ultraviolet sensor.
In addition, the GOES satellites carry Emergency Position-Indicating Radio Beacon (EPIRB) and Emergency Locator Transmitter (ELT) receivers, which are used for search-and-rescue purposes by the U.S. Air Force Rescue Coordination Center.
STS027-039-027 Himalaya Mountains and Northeast India December 1988
This high-oblique, northeast-looking photograph of northeast India and a small part of the Tibetan Plateau of China provides a view of various landforms. Visible is a segment of the east-west trending Himalayas, the world’s highest mountain range, with many ridgelines and peaks exceeding 20 000 feet (6095 meters). These mountains were created by the dramatic collision of the Australian-Indian Plate and the Eurasian Plate. The water levels of numerous blue lakes on the high plateau of Tibet are primarily maintained by meltwater from the snow and glaciers of the high Himalayas. Immediately north of these lakes, elevations rise to more than 15 000 feet (4710 meters). In contrast to the arid Tibetan Plateau is the Brahmaputra River valley of northeast India, the world’s second wettest spot (the island of Kauai, Hawaii, is the wettest). Most of the rainfall occurs in the Brahmaputra valley during the monsoon season of northeast India. The Brahmaputra River with its braided multichannels bends south around the Kasi Hills of northeast India. A small part of the highly populated Ganges River Plain is visible along the southern edge of the photograph.
Thousands of telephone/data wires being repaired or examined by engineers on a Colchester street.
I plan to use this image to illustrate social media, multi-channel fundraising/marketing, and the complexities of communications.
Went downtown to check out some free Big Ears events. And walked around with the camera & iPhone.
Checked out Stephen O'Malley's Multichannel spatialization sound diffusion at the museum. It was titled, "This Is How You Will Disappear".
This Is How You Will Disappear Credit page: frontporchproductions.org/ThisIsHowYouWillDisappear
Museum web site: knoxart.org
Knoxville Museum of Art
Knoxville, Tennessee
Friday, March 31st, 2023
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Went downtown to check out some free Big Ears events. And walked around with the camera & iPhone.
Checked out Stephen O'Malley's Multichannel spatialization sound diffusion at the museum. It was titled, "This Is How You Will Disappear".
This Is How You Will Disappear Credit page: frontporchproductions.org/ThisIsHowYouWillDisappear
Museum web site: knoxart.org
Knoxville Museum of Art
Knoxville, Tennessee
Friday, March 31st, 2023
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Wonderwerp #60
Studio Loos, Den Haag 2015
Based loosely on Ganzfeld experiments (a technique used in parapsychology in the 1970s as a way of invoking telepathy), Color Field Immersion involves masking the audience with semi-transparent blindfolds onto which light projections are mapped. Similar to sensory deprivation, Color Field Immersion provides perceptual deprivation, replacing the entirety of each audience member’s visual field with washes of color, line, and movement – often inducing hallucinations as the brain seeks to replace lost stimuli. Flipping the traditional performer-audience relationship, the internalized experience becomes the location of the performance. Combined with rich, textural soundscapes, Color Field Immersion creates a deeply immersive perceptual architecture of sound and vision.
Doron Sadja is an American artist, composer, and curator whose work explores modes of perception and the experience of sound, light, and space. Working primarily with multichannel spatialized sound – combining pristine electronics with lush romantic synthesizers, extreme frequencies, dense noise, and computer-enhanced acoustic instruments, Sadja creates post-human, hyper-emotive sonic architecture. Although each of Sadja’s works are striking in their singular and focused approach, his output is diverse: spanning everything from immersive multichannel sound pieces to sexually provacative performance / installation works, and stroboscopic smoke, mirror, laser, and projection shows. Doron has published music on 12k, ATAK, and Shinkoyo records, and has performed/exhibited at PS1 MoMa, Miami MOCA, D’amelio Terras Gallery, Cleveland Museum of Art, Issue Project Room, and Roulette amongst others. Sadja co-founded Shinkoyo Records and the West Nile performing arts venue in Brooklyn (RIP), and has curated various new music/sound festivals around NYC, including the multichannel SOUNDCORRIDORS Festival, Easy Not Easy, John Cage Musicircus, and more.
This image is excerpted from a U.S. GAO report:
www.gao.gov/products/GAO-16-349
LOCAL MEDIA ADVERTISING: FCC Should Take Action to Ensure Television Stations Publicly File Advertising Agreements
a) This figure collapses BIA/Kelsey's magazines and print yellow pages categories into "other print."
b) Multichannel video programming distributors are cable, satellite, and telecommunications subscription television services.
c) Out-of-home is a category of advertising that includes billboards and other displays in public places.
d) This figure collapses BIA/Kelsey's mobile, online, e-mail, and Internet yellow pages categories into "Internet-based."
boxes from top to bottom:
dcx2496 digital crossover. modified to have 2 spdif digital outs (instead of balanced analog outs)
a 1U chassis that I repurposed to being the housing of 2 ebay AK4399 chip based DACs. each DAC is sent a high or low crossover-filtered spdif stream and it creates a stereo analog out that I then feed into a volume control and amplifier.
silver chassis with lcd display is my cirrus cs3318 DIY multichannel volume control with remote. its still hand-made proto boards inside. vol control is via analog but controlled via IR and front panel knobs/buttons.
bottom big box is a commercial multichannel amp. line-in at rca level and spkr-out. this directly drives some DIY 2-way zaph audio L18 spkrs. woofer and tweeter each get their own private amp channel and wiring.
the DAC box was done recently on a laser cutter and the white lettering is in-filled using acrylic paint. that part is slowly done by hand.
the 2 middle boxes are ones I built and designed; the top and bottom are commercially buyable boxes.
I swear that at first sight it was an #unicorn, in the outskirts of #Waterloo, #Belgique #Belgium an #amazing day
Wonderwerp #60
Studio Loos, Den Haag 2015
Based loosely on Ganzfeld experiments (a technique used in parapsychology in the 1970s as a way of invoking telepathy), Color Field Immersion involves masking the audience with semi-transparent blindfolds onto which light projections are mapped. Similar to sensory deprivation, Color Field Immersion provides perceptual deprivation, replacing the entirety of each audience member’s visual field with washes of color, line, and movement – often inducing hallucinations as the brain seeks to replace lost stimuli. Flipping the traditional performer-audience relationship, the internalized experience becomes the location of the performance. Combined with rich, textural soundscapes, Color Field Immersion creates a deeply immersive perceptual architecture of sound and vision.
Doron Sadja is an American artist, composer, and curator whose work explores modes of perception and the experience of sound, light, and space. Working primarily with multichannel spatialized sound – combining pristine electronics with lush romantic synthesizers, extreme frequencies, dense noise, and computer-enhanced acoustic instruments, Sadja creates post-human, hyper-emotive sonic architecture. Although each of Sadja’s works are striking in their singular and focused approach, his output is diverse: spanning everything from immersive multichannel sound pieces to sexually provacative performance / installation works, and stroboscopic smoke, mirror, laser, and projection shows. Doron has published music on 12k, ATAK, and Shinkoyo records, and has performed/exhibited at PS1 MoMa, Miami MOCA, D’amelio Terras Gallery, Cleveland Museum of Art, Issue Project Room, and Roulette amongst others. Sadja co-founded Shinkoyo Records and the West Nile performing arts venue in Brooklyn (RIP), and has curated various new music/sound festivals around NYC, including the multichannel SOUNDCORRIDORS Festival, Easy Not Easy, John Cage Musicircus, and more.
Lovebytes - Digital Spring
Live performances by Bruce Gilbert, R/S, Russell Haswell
Sound Installation by Jana Winderen
Sat 24 March 7-10.30pm
Channing Hall, 45 Surrey Street, Sheffield. S1 2LG
An evening of extreme electronic music, collaboration and improvisation curated by Sheffield artists Mark Fell and Mat Steel and featuring Bruce Gilbert, Russell Haswell, and R/S (Peter Rehberg and Marcus Schmickler), plus access to a multichannel installation by Jana Winderen.
Jana Winderen is one of the world's foremost field recording artists. She talked about her work in the Upper Chapel at 3pm 24 March. This was a free event.
Jana Winderen is an artist, educated in Fine Art at Goldsmiths College in London, and with a background in mathematics and chemistry from the University in Oslo. Since 1993, she has worked as an artist, curator and producer. She currently lives and works in Oslo.
Jana Winderen researches hidden depths with the latest technology. Her work reveals the complexity and strangeness of the unseen world beneath. The audio topography of the oceans and the depth of ice crevasses is brought to the surface. She is concerned with finding sound from hidden sources, like blind field recording.
Artist Statement:
"I like the immateriality of a sound work, and the openness it can have for both associative and direct experience and sensory perception. I have been occupied with finding sounds from unseen sources of sound, like blind field recordings. Over the last seven years, I have collected recordings made by hydrophones, from rivers, shores and the ocean in Asia, Europe and America, from glaciers in Greenland, Iceland and Norway. In the depths of the oceans there are invisible but audible soundscapes about which we are largely ignorant, even if the oceans cover 70% of our planet. I am also experimenting with different types of microphones to collect sounds which are not obviously recognisable, but give room for broader, more imaginative readings or sounds that are unreachable for the human senses. I use these sounds as source material for composition in a live environment or to create installations, currently also for film, radio, CD, MC and vinyl productions."
Bruce Gilbert is perhaps best known as co-founder of post-punk legends Wire. Following their end in 1980, Gilbert demonstrated a long-standing interest in electronic and experimental music that saw him form Dome (with Graham Lewis) and yielded such classic solo albums as This Way and The Shivering Man (reissued last year by Peter Rehberg's Editions Mego, 25 years after their first appearance). Along with reissues and solo projects in recent years, Gilbert has been active with collaborative performances alongside Mika Vainio, and is planning further new material.
R/S is the electronic music duo of Peter Rehberg and Marcus Schmickler. In 2011 they released 'USA', the duo's second full length release on PAN, a follow-up to their 2007 'One (Snow Mud Rain)' on Erstwhile Records.
Peter Rehberg performs throughout the world, and has participated in many of the major festivals associated with electronic music, through both solo performances and duets with Stephen O'Malley (KTL) and Marcus Schmickler (R/S), as well as projects such as Fenn O'Berg and Peterlicker. In addition to his roles as mentor to many artists and label curator of Editions Mego, Rehberg has also collaborated with interdisciplinary artists such as choreographer Gisele Vienne and writer Dennis Cooper (Kindertotenlieder; I Apologize, Jerk, This Is How You Will Disappear).
Marcus Schmickler is a Cologne-based composer, musician and producer of modern classical, electronic and computer music. He is also known for his work with Pluramon. In addition, he works in various collaborative projects - most notably with synth wiz Thomas Lehn. More recently, he has developed an interest in an epistemic dialog with the sciences, resonating in sonifications of astrophysical data, and translating recent mathematical discoveries into the sonic. His music's gleaming, impenetrable surfaces, labyrinthine constructions and opacity suck up all the air in the room - as well as your headspace.
Russell Haswell has exhibited visual artwork at Sadie Coles HQ, London; TN Probe, Tokyo; Galerie Rudolfinum, Prague; Kunsthalle, Vienna; Stedelijk Museum, Amsterdam; Centre Regional d'Art Contemporian, Bricks & Kicks Gallery, Vienna; Galerie Poo Poo, London; Museo d'Art Moderne, Paris; Anthony d'Offay Gallery, London; Kate Bernard Gallery, London; Independent Art Space, London and Institute of Contemporary Arts, London.
He has given solo audio presentations at major Art and Music festivals and events, in art galleries, concert halls and rock venues in Austria, Belgium, Croatia, Czech Republic, Denmark, Finland, France, Germany, Holland, Italy, Japan, Latvia, Luxemburg, Norway, Slovenia, Spain, Sweden, Switzerland, UK, and USA. Including occasional live collaborations with Masami Akita, Carl Michael von Hausswolff, Florian Hecker, Zbigniew Karkowski, Toshiji Mikawa [INCAPACITANTS], Peter Rehberg, Yasunao Tone, Ilpo & Mika Vanio [PAN_SONIC], WHITEHOUSE, and Hard Disc Jockey [HDJ] duos with Richard D James [Aphex Twin].
A second edition of the 8 track compact disc catalogue 'Live Salvage 1997 - 2000' (Honorable Mention, Digital Music's, Prix Ars Electronica.) has been reissued by Mego.. In 2008, a second volume, 'Second Live Salvage', was also released by Editions Mego as a double 12" vinyl set. In 2011, a third volume, 'IN IT: Immersive Live Salvage', was also released by Editions Mego as a Surround sound DVD (DTS & DOLBY 5.1) and vinyl LP (UHJ Ambisonic format) set.
Haswell released the Compact Disc 'Wild Tracks' (Editions Mego) in 2009: a collection of raw recordings, originally intended for film and other media projects. A double Compact Disc, 'VALUE + BONUS', was released by NO FUN Productions in mid 2010.
An ongoing collaboration (2003 +) with Florian Hecker working on Iannis Xenakis' graphic-input 'UPIC Music Composing System' is one project: the recorded results have been presented in the form of multi channel electroacoustic diffusion sessions, for example for the Frieze Art Fair. These events use surround sound and laser lighting to create an immersive multi-sensory environment. Mego, Warner Classical, and Warp records have released Haswell & Hecker recordings.
'satanstornade', a collaboration between Masami Akita & Russell Haswell, was published by Warp Records on compact disc and vinyl. It was awarded "Record cover of the month", Vice UK.
'MiniDisc' by Gescom, (Distinction, Digital Musics, Prix Ars Electronica.) The worlds first 'independent' label released 'MiniDisc' A collaboration between Russell Haswell, Rob Brown and Sean Booth of Autechre, has been reissued by OR on Compact Disc in 2007.
Haswell was also a curator at P.S.1/MOMA, Contemporary Art Centre, New York. Responsible for large-scale exhibition curating and hanging, as well as curating a weekly (summer months only) outdoor music event, WARM UP.
In 2005 and 2006 he curated two London based 'All Tomorrow's Parties' club events, entitled 'Easy to Swallow', intended for the broad-minded, the events showcased Carl Michael von Hausswolff, Yasunao Tone + Hecker, Mark Stewart and the Maffia, Aphex Twin, Whitehouse, Surgeon + Regis Present: British Murder Boys, Lee Dorrian (ex- Napalm Death & Cathedral), Pita, Earth, Autechre, Robert Hood (ex-Underground Resistance). Both events sold out!
In November 2009 he curated 'LISTEN' at Aldeburgh Snape Maltings Concert House with Chris Watson, Bernie Krause and Tony Myatt, presenting their works on a 360° 'high-order' ambisonic surround sound system.
Haswell recently curated part of the audio program for "The Morning Line Istanbul 2010' project, European Capital of Culture 2010. Commissioned by Thyssen-Bornemisza Art Contemporary (T-B A21), working with Artists/Composers: Carl Michael von Hausswolff, Peter Zinovieff, Jana Winderen, and Yasunao Tone. These works were presented again in Vienna, 2011.
Haswell has contributed to Frieze Magazine articles on Japanese noise, computer music software and Peter Halley.
Lovebytes 2012 - Digital Spring
A Festival of Art, Science and Technology
22-24 March
Sheffield UK
Wonderwerp #60
Studio Loos, Den Haag 2015
Based loosely on Ganzfeld experiments (a technique used in parapsychology in the 1970s as a way of invoking telepathy), Color Field Immersion involves masking the audience with semi-transparent blindfolds onto which light projections are mapped. Similar to sensory deprivation, Color Field Immersion provides perceptual deprivation, replacing the entirety of each audience member’s visual field with washes of color, line, and movement – often inducing hallucinations as the brain seeks to replace lost stimuli. Flipping the traditional performer-audience relationship, the internalized experience becomes the location of the performance. Combined with rich, textural soundscapes, Color Field Immersion creates a deeply immersive perceptual architecture of sound and vision.
Doron Sadja is an American artist, composer, and curator whose work explores modes of perception and the experience of sound, light, and space. Working primarily with multichannel spatialized sound – combining pristine electronics with lush romantic synthesizers, extreme frequencies, dense noise, and computer-enhanced acoustic instruments, Sadja creates post-human, hyper-emotive sonic architecture. Although each of Sadja’s works are striking in their singular and focused approach, his output is diverse: spanning everything from immersive multichannel sound pieces to sexually provacative performance / installation works, and stroboscopic smoke, mirror, laser, and projection shows. Doron has published music on 12k, ATAK, and Shinkoyo records, and has performed/exhibited at PS1 MoMa, Miami MOCA, D’amelio Terras Gallery, Cleveland Museum of Art, Issue Project Room, and Roulette amongst others. Sadja co-founded Shinkoyo Records and the West Nile performing arts venue in Brooklyn (RIP), and has curated various new music/sound festivals around NYC, including the multichannel SOUNDCORRIDORS Festival, Easy Not Easy, John Cage Musicircus, and more.
"Rita Jokiranta’s new video installation At the Water’s Edges (2020) shows momentary views of New York City’s coastline disappearing under troubled waves. The work is a result of a three-year-long project that focuses on the relation between climate change and a big city. The multichannel installation challenges the viewer with its presentation playing with visibility and power of seeing.
Recent research shows that big cities are places where climate emergencies, such as rising sea levels, will hit first. Paradoxically, they are also catalysts of accelerated global warming with their emissions. The work employs New York City as an example—due to its long shoreline and surrounding shallow waters, the city is very vulnerable to storms and flooding.
The installation fills Photographic Gallery Hippolyte’s main space with urban views combined with waters and glimpses of life in the coastal areas. The images may reflect, in part, the rising seas or previous disasters, such as Hurricane Sandy, but also depict everyday activities without climate concerns. The structure of the work is episodic without a linear narrative, and the flow of images is controlled by random and repetition. Jokiranta has preferred to avoid a documentary or journalistic approach, yet she has utilized scientific material, books, and newspaper articles to support her work.
The videos for the work were filmed 2017-2019 on location in selected areas in Manhattan, Brooklyn, Queens and the Bronx in New York City which are in significant risk for flooding during the next decades, and which the artist has been able to reach by foot, train, bus or ferry. The outbreak of the Covid-19 pandemic during the closing phase of the project affected the final work. Though the views now might look different, the climate crisis still exists and should not be forgotten.
Rita Jokiranta is a visual artist who mainly works with moving images and photography. In recent years, she has mostly focused on experimental multichannel-video installations. Her work has been shown in numerous solo and group shows, screening events, film festivals and other contemporary art exhibitions in Finland, the Nordic countries and widely elsewhere in Europe and the U.S. Her latest solo exhibitions were shown at Gallery Huuto in Helsinki (In the Minds of Others, 2018; Life as It Flees, 2017) and at the Åland Art Museum (It Is Too Late (to Dance), 2019). "
Another Brenizer photo from the “Miksan” series:
www.juliopolito.com/photography-miksan/
This simple technique allows you to convert your average DSRL into a medium format camera. Ideal for large HQ prints.
Giclée, epson 9900 ultrachrome hdr, 110 x 48 cm (43.3 x 18.9 in), epson enhanced matte.
5HT_GFP stain hc ant vslice-7
[© Tessa Hirschfeld-Stoler. All Rights Reserved. Do not use or reproduce without my permission.]
As we passed the Marcus G. Langseth on the morning of September 9th, 2022 in Seattle, I assumed it was a fishing vessel. I was very wrong. The Marcus G. Langseth is a research vessel that is owned and operated by Columbia Climate School's Lamont-Doherty Earth Observatory. From their site - "The Langseth is the only UNOLS vessel equipped to carry out marine multichannel seismological research. The Langseth is able to deploy multiple hydrophone arrays and linear sound source air gun arrays, which improve the quality and reliability of data acquisition, as well as enhanced general-purpose capacity, such as wireline coring, OBS deployment/recovery, and ROV operations in support of a wide range of marine science programs in locations around the world." UNOLS is used for the "University-National Oceanographic Laboratory System". Pictures from our early morning arrival back to Seattle on Disembarkation Day (September 9th, 2022) after our amazing visit to Alaska. On board the Royal Caribbean Ovation of the Seas for the seven night Alaska Experience Cruise (September 2nd through 9th, 2022). The cruise embarks from Seattle, Washington and the itinerary includes stops in Juneau (AK), Skagway (AK), Sitka (AK) and Victoria (British Columbia, Canada) before heading back to Seattle.
This image was captured with a Nikon D-1X camera with a 70-210mm D series lens using the Nikon electronic file format (.Nef) Shot on Lexar Flash media. All file was post processed using NIKON capture. Black and white conversion done using the Versace Multichannel mixer trchnique and NiK SilverefexPro in Photoshop CS
© Vincent Versace 2008
Please join my Welcome to Oz Group on Flickr!! Just click the link below
Went downtown to check out some free Big Ears events. And walked around with the camera & iPhone.
Checked out Stephen O'Malley's Multichannel spatialization sound diffusion at the museum. It was titled, "This Is How You Will Disappear".
This Is How You Will Disappear Credit page: frontporchproductions.org/ThisIsHowYouWillDisappear
Museum web site: knoxart.org
Knoxville Museum of Art
Knoxville, Tennessee
Friday, March 31st, 2023
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Lovebytes - Digital Spring
Live performances by Bruce Gilbert, R/S, Russell Haswell
Sound Installation by Jana Winderen
Sat 24 March 7-10.30pm
Channing Hall, 45 Surrey Street, Sheffield. S1 2LG
An evening of extreme electronic music, collaboration and improvisation curated by Sheffield artists Mark Fell and Mat Steel and featuring Bruce Gilbert, Russell Haswell, and R/S (Peter Rehberg and Marcus Schmickler), plus access to a multichannel installation by Jana Winderen.
Jana Winderen is one of the world's foremost field recording artists. She talked about her work in the Upper Chapel at 3pm 24 March. This was a free event.
Jana Winderen is an artist, educated in Fine Art at Goldsmiths College in London, and with a background in mathematics and chemistry from the University in Oslo. Since 1993, she has worked as an artist, curator and producer. She currently lives and works in Oslo.
Jana Winderen researches hidden depths with the latest technology. Her work reveals the complexity and strangeness of the unseen world beneath. The audio topography of the oceans and the depth of ice crevasses is brought to the surface. She is concerned with finding sound from hidden sources, like blind field recording.
Artist Statement:
"I like the immateriality of a sound work, and the openness it can have for both associative and direct experience and sensory perception. I have been occupied with finding sounds from unseen sources of sound, like blind field recordings. Over the last seven years, I have collected recordings made by hydrophones, from rivers, shores and the ocean in Asia, Europe and America, from glaciers in Greenland, Iceland and Norway. In the depths of the oceans there are invisible but audible soundscapes about which we are largely ignorant, even if the oceans cover 70% of our planet. I am also experimenting with different types of microphones to collect sounds which are not obviously recognisable, but give room for broader, more imaginative readings or sounds that are unreachable for the human senses. I use these sounds as source material for composition in a live environment or to create installations, currently also for film, radio, CD, MC and vinyl productions."
Bruce Gilbert is perhaps best known as co-founder of post-punk legends Wire. Following their end in 1980, Gilbert demonstrated a long-standing interest in electronic and experimental music that saw him form Dome (with Graham Lewis) and yielded such classic solo albums as This Way and The Shivering Man (reissued last year by Peter Rehberg's Editions Mego, 25 years after their first appearance). Along with reissues and solo projects in recent years, Gilbert has been active with collaborative performances alongside Mika Vainio, and is planning further new material.
R/S is the electronic music duo of Peter Rehberg and Marcus Schmickler. In 2011 they released 'USA', the duo's second full length release on PAN, a follow-up to their 2007 'One (Snow Mud Rain)' on Erstwhile Records.
Peter Rehberg performs throughout the world, and has participated in many of the major festivals associated with electronic music, through both solo performances and duets with Stephen O'Malley (KTL) and Marcus Schmickler (R/S), as well as projects such as Fenn O'Berg and Peterlicker. In addition to his roles as mentor to many artists and label curator of Editions Mego, Rehberg has also collaborated with interdisciplinary artists such as choreographer Gisele Vienne and writer Dennis Cooper (Kindertotenlieder; I Apologize, Jerk, This Is How You Will Disappear).
Marcus Schmickler is a Cologne-based composer, musician and producer of modern classical, electronic and computer music. He is also known for his work with Pluramon. In addition, he works in various collaborative projects - most notably with synth wiz Thomas Lehn. More recently, he has developed an interest in an epistemic dialog with the sciences, resonating in sonifications of astrophysical data, and translating recent mathematical discoveries into the sonic. His music's gleaming, impenetrable surfaces, labyrinthine constructions and opacity suck up all the air in the room - as well as your headspace.
Russell Haswell has exhibited visual artwork at Sadie Coles HQ, London; TN Probe, Tokyo; Galerie Rudolfinum, Prague; Kunsthalle, Vienna; Stedelijk Museum, Amsterdam; Centre Regional d'Art Contemporian, Bricks & Kicks Gallery, Vienna; Galerie Poo Poo, London; Museo d'Art Moderne, Paris; Anthony d'Offay Gallery, London; Kate Bernard Gallery, London; Independent Art Space, London and Institute of Contemporary Arts, London.
He has given solo audio presentations at major Art and Music festivals and events, in art galleries, concert halls and rock venues in Austria, Belgium, Croatia, Czech Republic, Denmark, Finland, France, Germany, Holland, Italy, Japan, Latvia, Luxemburg, Norway, Slovenia, Spain, Sweden, Switzerland, UK, and USA. Including occasional live collaborations with Masami Akita, Carl Michael von Hausswolff, Florian Hecker, Zbigniew Karkowski, Toshiji Mikawa [INCAPACITANTS], Peter Rehberg, Yasunao Tone, Ilpo & Mika Vanio [PAN_SONIC], WHITEHOUSE, and Hard Disc Jockey [HDJ] duos with Richard D James [Aphex Twin].
A second edition of the 8 track compact disc catalogue 'Live Salvage 1997 - 2000' (Honorable Mention, Digital Music's, Prix Ars Electronica.) has been reissued by Mego.. In 2008, a second volume, 'Second Live Salvage', was also released by Editions Mego as a double 12" vinyl set. In 2011, a third volume, 'IN IT: Immersive Live Salvage', was also released by Editions Mego as a Surround sound DVD (DTS & DOLBY 5.1) and vinyl LP (UHJ Ambisonic format) set.
Haswell released the Compact Disc 'Wild Tracks' (Editions Mego) in 2009: a collection of raw recordings, originally intended for film and other media projects. A double Compact Disc, 'VALUE + BONUS', was released by NO FUN Productions in mid 2010.
An ongoing collaboration (2003 +) with Florian Hecker working on Iannis Xenakis' graphic-input 'UPIC Music Composing System' is one project: the recorded results have been presented in the form of multi channel electroacoustic diffusion sessions, for example for the Frieze Art Fair. These events use surround sound and laser lighting to create an immersive multi-sensory environment. Mego, Warner Classical, and Warp records have released Haswell & Hecker recordings.
'satanstornade', a collaboration between Masami Akita & Russell Haswell, was published by Warp Records on compact disc and vinyl. It was awarded "Record cover of the month", Vice UK.
'MiniDisc' by Gescom, (Distinction, Digital Musics, Prix Ars Electronica.) The worlds first 'independent' label released 'MiniDisc' A collaboration between Russell Haswell, Rob Brown and Sean Booth of Autechre, has been reissued by OR on Compact Disc in 2007.
Haswell was also a curator at P.S.1/MOMA, Contemporary Art Centre, New York. Responsible for large-scale exhibition curating and hanging, as well as curating a weekly (summer months only) outdoor music event, WARM UP.
In 2005 and 2006 he curated two London based 'All Tomorrow's Parties' club events, entitled 'Easy to Swallow', intended for the broad-minded, the events showcased Carl Michael von Hausswolff, Yasunao Tone + Hecker, Mark Stewart and the Maffia, Aphex Twin, Whitehouse, Surgeon + Regis Present: British Murder Boys, Lee Dorrian (ex- Napalm Death & Cathedral), Pita, Earth, Autechre, Robert Hood (ex-Underground Resistance). Both events sold out!
In November 2009 he curated 'LISTEN' at Aldeburgh Snape Maltings Concert House with Chris Watson, Bernie Krause and Tony Myatt, presenting their works on a 360° 'high-order' ambisonic surround sound system.
Haswell recently curated part of the audio program for "The Morning Line Istanbul 2010' project, European Capital of Culture 2010. Commissioned by Thyssen-Bornemisza Art Contemporary (T-B A21), working with Artists/Composers: Carl Michael von Hausswolff, Peter Zinovieff, Jana Winderen, and Yasunao Tone. These works were presented again in Vienna, 2011.
Haswell has contributed to Frieze Magazine articles on Japanese noise, computer music software and Peter Halley.
Lovebytes 2012 - Digital Spring
A Festival of Art, Science and Technology
22-24 March
Sheffield UK
Lovebytes - Digital Spring
Live performances by Bruce Gilbert, R/S, Russell Haswell
Sound Installation by Jana Winderen
Sat 24 March 7-10.30pm
Channing Hall, 45 Surrey Street, Sheffield. S1 2LG
An evening of extreme electronic music, collaboration and improvisation curated by Sheffield artists Mark Fell and Mat Steel and featuring Bruce Gilbert, Russell Haswell, and R/S (Peter Rehberg and Marcus Schmickler), plus access to a multichannel installation by Jana Winderen.
Jana Winderen is one of the world's foremost field recording artists. She talked about her work in the Upper Chapel at 3pm 24 March. This was a free event.
Jana Winderen is an artist, educated in Fine Art at Goldsmiths College in London, and with a background in mathematics and chemistry from the University in Oslo. Since 1993, she has worked as an artist, curator and producer. She currently lives and works in Oslo.
Jana Winderen researches hidden depths with the latest technology. Her work reveals the complexity and strangeness of the unseen world beneath. The audio topography of the oceans and the depth of ice crevasses is brought to the surface. She is concerned with finding sound from hidden sources, like blind field recording.
Artist Statement:
"I like the immateriality of a sound work, and the openness it can have for both associative and direct experience and sensory perception. I have been occupied with finding sounds from unseen sources of sound, like blind field recordings. Over the last seven years, I have collected recordings made by hydrophones, from rivers, shores and the ocean in Asia, Europe and America, from glaciers in Greenland, Iceland and Norway. In the depths of the oceans there are invisible but audible soundscapes about which we are largely ignorant, even if the oceans cover 70% of our planet. I am also experimenting with different types of microphones to collect sounds which are not obviously recognisable, but give room for broader, more imaginative readings or sounds that are unreachable for the human senses. I use these sounds as source material for composition in a live environment or to create installations, currently also for film, radio, CD, MC and vinyl productions."
Bruce Gilbert is perhaps best known as co-founder of post-punk legends Wire. Following their end in 1980, Gilbert demonstrated a long-standing interest in electronic and experimental music that saw him form Dome (with Graham Lewis) and yielded such classic solo albums as This Way and The Shivering Man (reissued last year by Peter Rehberg's Editions Mego, 25 years after their first appearance). Along with reissues and solo projects in recent years, Gilbert has been active with collaborative performances alongside Mika Vainio, and is planning further new material.
R/S is the electronic music duo of Peter Rehberg and Marcus Schmickler. In 2011 they released 'USA', the duo's second full length release on PAN, a follow-up to their 2007 'One (Snow Mud Rain)' on Erstwhile Records.
Peter Rehberg performs throughout the world, and has participated in many of the major festivals associated with electronic music, through both solo performances and duets with Stephen O'Malley (KTL) and Marcus Schmickler (R/S), as well as projects such as Fenn O'Berg and Peterlicker. In addition to his roles as mentor to many artists and label curator of Editions Mego, Rehberg has also collaborated with interdisciplinary artists such as choreographer Gisele Vienne and writer Dennis Cooper (Kindertotenlieder; I Apologize, Jerk, This Is How You Will Disappear).
Marcus Schmickler is a Cologne-based composer, musician and producer of modern classical, electronic and computer music. He is also known for his work with Pluramon. In addition, he works in various collaborative projects - most notably with synth wiz Thomas Lehn. More recently, he has developed an interest in an epistemic dialog with the sciences, resonating in sonifications of astrophysical data, and translating recent mathematical discoveries into the sonic. His music's gleaming, impenetrable surfaces, labyrinthine constructions and opacity suck up all the air in the room - as well as your headspace.
Russell Haswell has exhibited visual artwork at Sadie Coles HQ, London; TN Probe, Tokyo; Galerie Rudolfinum, Prague; Kunsthalle, Vienna; Stedelijk Museum, Amsterdam; Centre Regional d'Art Contemporian, Bricks & Kicks Gallery, Vienna; Galerie Poo Poo, London; Museo d'Art Moderne, Paris; Anthony d'Offay Gallery, London; Kate Bernard Gallery, London; Independent Art Space, London and Institute of Contemporary Arts, London.
He has given solo audio presentations at major Art and Music festivals and events, in art galleries, concert halls and rock venues in Austria, Belgium, Croatia, Czech Republic, Denmark, Finland, France, Germany, Holland, Italy, Japan, Latvia, Luxemburg, Norway, Slovenia, Spain, Sweden, Switzerland, UK, and USA. Including occasional live collaborations with Masami Akita, Carl Michael von Hausswolff, Florian Hecker, Zbigniew Karkowski, Toshiji Mikawa [INCAPACITANTS], Peter Rehberg, Yasunao Tone, Ilpo & Mika Vanio [PAN_SONIC], WHITEHOUSE, and Hard Disc Jockey [HDJ] duos with Richard D James [Aphex Twin].
A second edition of the 8 track compact disc catalogue 'Live Salvage 1997 - 2000' (Honorable Mention, Digital Music's, Prix Ars Electronica.) has been reissued by Mego.. In 2008, a second volume, 'Second Live Salvage', was also released by Editions Mego as a double 12" vinyl set. In 2011, a third volume, 'IN IT: Immersive Live Salvage', was also released by Editions Mego as a Surround sound DVD (DTS & DOLBY 5.1) and vinyl LP (UHJ Ambisonic format) set.
Haswell released the Compact Disc 'Wild Tracks' (Editions Mego) in 2009: a collection of raw recordings, originally intended for film and other media projects. A double Compact Disc, 'VALUE + BONUS', was released by NO FUN Productions in mid 2010.
An ongoing collaboration (2003 +) with Florian Hecker working on Iannis Xenakis' graphic-input 'UPIC Music Composing System' is one project: the recorded results have been presented in the form of multi channel electroacoustic diffusion sessions, for example for the Frieze Art Fair. These events use surround sound and laser lighting to create an immersive multi-sensory environment. Mego, Warner Classical, and Warp records have released Haswell & Hecker recordings.
'satanstornade', a collaboration between Masami Akita & Russell Haswell, was published by Warp Records on compact disc and vinyl. It was awarded "Record cover of the month", Vice UK.
'MiniDisc' by Gescom, (Distinction, Digital Musics, Prix Ars Electronica.) The worlds first 'independent' label released 'MiniDisc' A collaboration between Russell Haswell, Rob Brown and Sean Booth of Autechre, has been reissued by OR on Compact Disc in 2007.
Haswell was also a curator at P.S.1/MOMA, Contemporary Art Centre, New York. Responsible for large-scale exhibition curating and hanging, as well as curating a weekly (summer months only) outdoor music event, WARM UP.
In 2005 and 2006 he curated two London based 'All Tomorrow's Parties' club events, entitled 'Easy to Swallow', intended for the broad-minded, the events showcased Carl Michael von Hausswolff, Yasunao Tone + Hecker, Mark Stewart and the Maffia, Aphex Twin, Whitehouse, Surgeon + Regis Present: British Murder Boys, Lee Dorrian (ex- Napalm Death & Cathedral), Pita, Earth, Autechre, Robert Hood (ex-Underground Resistance). Both events sold out!
In November 2009 he curated 'LISTEN' at Aldeburgh Snape Maltings Concert House with Chris Watson, Bernie Krause and Tony Myatt, presenting their works on a 360° 'high-order' ambisonic surround sound system.
Haswell recently curated part of the audio program for "The Morning Line Istanbul 2010' project, European Capital of Culture 2010. Commissioned by Thyssen-Bornemisza Art Contemporary (T-B A21), working with Artists/Composers: Carl Michael von Hausswolff, Peter Zinovieff, Jana Winderen, and Yasunao Tone. These works were presented again in Vienna, 2011.
Haswell has contributed to Frieze Magazine articles on Japanese noise, computer music software and Peter Halley.
Lovebytes 2012 - Digital Spring
A Festival of Art, Science and Technology
22-24 March
Sheffield UK
Lovebytes - Digital Spring
Live performances by Bruce Gilbert, R/S, Russell Haswell
Sound Installation by Jana Winderen
Sat 24 March 7-10.30pm
Channing Hall, 45 Surrey Street, Sheffield. S1 2LG
An evening of extreme electronic music, collaboration and improvisation curated by Sheffield artists Mark Fell and Mat Steel and featuring Bruce Gilbert, Russell Haswell, and R/S (Peter Rehberg and Marcus Schmickler), plus access to a multichannel installation by Jana Winderen.
Jana Winderen is one of the world's foremost field recording artists. She talked about her work in the Upper Chapel at 3pm 24 March. This was a free event.
Jana Winderen is an artist, educated in Fine Art at Goldsmiths College in London, and with a background in mathematics and chemistry from the University in Oslo. Since 1993, she has worked as an artist, curator and producer. She currently lives and works in Oslo.
Jana Winderen researches hidden depths with the latest technology. Her work reveals the complexity and strangeness of the unseen world beneath. The audio topography of the oceans and the depth of ice crevasses is brought to the surface. She is concerned with finding sound from hidden sources, like blind field recording.
Artist Statement:
"I like the immateriality of a sound work, and the openness it can have for both associative and direct experience and sensory perception. I have been occupied with finding sounds from unseen sources of sound, like blind field recordings. Over the last seven years, I have collected recordings made by hydrophones, from rivers, shores and the ocean in Asia, Europe and America, from glaciers in Greenland, Iceland and Norway. In the depths of the oceans there are invisible but audible soundscapes about which we are largely ignorant, even if the oceans cover 70% of our planet. I am also experimenting with different types of microphones to collect sounds which are not obviously recognisable, but give room for broader, more imaginative readings or sounds that are unreachable for the human senses. I use these sounds as source material for composition in a live environment or to create installations, currently also for film, radio, CD, MC and vinyl productions."
Bruce Gilbert is perhaps best known as co-founder of post-punk legends Wire. Following their end in 1980, Gilbert demonstrated a long-standing interest in electronic and experimental music that saw him form Dome (with Graham Lewis) and yielded such classic solo albums as This Way and The Shivering Man (reissued last year by Peter Rehberg's Editions Mego, 25 years after their first appearance). Along with reissues and solo projects in recent years, Gilbert has been active with collaborative performances alongside Mika Vainio, and is planning further new material.
R/S is the electronic music duo of Peter Rehberg and Marcus Schmickler. In 2011 they released 'USA', the duo's second full length release on PAN, a follow-up to their 2007 'One (Snow Mud Rain)' on Erstwhile Records.
Peter Rehberg performs throughout the world, and has participated in many of the major festivals associated with electronic music, through both solo performances and duets with Stephen O'Malley (KTL) and Marcus Schmickler (R/S), as well as projects such as Fenn O'Berg and Peterlicker. In addition to his roles as mentor to many artists and label curator of Editions Mego, Rehberg has also collaborated with interdisciplinary artists such as choreographer Gisele Vienne and writer Dennis Cooper (Kindertotenlieder; I Apologize, Jerk, This Is How You Will Disappear).
Marcus Schmickler is a Cologne-based composer, musician and producer of modern classical, electronic and computer music. He is also known for his work with Pluramon. In addition, he works in various collaborative projects - most notably with synth wiz Thomas Lehn. More recently, he has developed an interest in an epistemic dialog with the sciences, resonating in sonifications of astrophysical data, and translating recent mathematical discoveries into the sonic. His music's gleaming, impenetrable surfaces, labyrinthine constructions and opacity suck up all the air in the room - as well as your headspace.
Russell Haswell has exhibited visual artwork at Sadie Coles HQ, London; TN Probe, Tokyo; Galerie Rudolfinum, Prague; Kunsthalle, Vienna; Stedelijk Museum, Amsterdam; Centre Regional d'Art Contemporian, Bricks & Kicks Gallery, Vienna; Galerie Poo Poo, London; Museo d'Art Moderne, Paris; Anthony d'Offay Gallery, London; Kate Bernard Gallery, London; Independent Art Space, London and Institute of Contemporary Arts, London.
He has given solo audio presentations at major Art and Music festivals and events, in art galleries, concert halls and rock venues in Austria, Belgium, Croatia, Czech Republic, Denmark, Finland, France, Germany, Holland, Italy, Japan, Latvia, Luxemburg, Norway, Slovenia, Spain, Sweden, Switzerland, UK, and USA. Including occasional live collaborations with Masami Akita, Carl Michael von Hausswolff, Florian Hecker, Zbigniew Karkowski, Toshiji Mikawa [INCAPACITANTS], Peter Rehberg, Yasunao Tone, Ilpo & Mika Vanio [PAN_SONIC], WHITEHOUSE, and Hard Disc Jockey [HDJ] duos with Richard D James [Aphex Twin].
A second edition of the 8 track compact disc catalogue 'Live Salvage 1997 - 2000' (Honorable Mention, Digital Music's, Prix Ars Electronica.) has been reissued by Mego.. In 2008, a second volume, 'Second Live Salvage', was also released by Editions Mego as a double 12" vinyl set. In 2011, a third volume, 'IN IT: Immersive Live Salvage', was also released by Editions Mego as a Surround sound DVD (DTS & DOLBY 5.1) and vinyl LP (UHJ Ambisonic format) set.
Haswell released the Compact Disc 'Wild Tracks' (Editions Mego) in 2009: a collection of raw recordings, originally intended for film and other media projects. A double Compact Disc, 'VALUE + BONUS', was released by NO FUN Productions in mid 2010.
An ongoing collaboration (2003 +) with Florian Hecker working on Iannis Xenakis' graphic-input 'UPIC Music Composing System' is one project: the recorded results have been presented in the form of multi channel electroacoustic diffusion sessions, for example for the Frieze Art Fair. These events use surround sound and laser lighting to create an immersive multi-sensory environment. Mego, Warner Classical, and Warp records have released Haswell & Hecker recordings.
'satanstornade', a collaboration between Masami Akita & Russell Haswell, was published by Warp Records on compact disc and vinyl. It was awarded "Record cover of the month", Vice UK.
'MiniDisc' by Gescom, (Distinction, Digital Musics, Prix Ars Electronica.) The worlds first 'independent' label released 'MiniDisc' A collaboration between Russell Haswell, Rob Brown and Sean Booth of Autechre, has been reissued by OR on Compact Disc in 2007.
Haswell was also a curator at P.S.1/MOMA, Contemporary Art Centre, New York. Responsible for large-scale exhibition curating and hanging, as well as curating a weekly (summer months only) outdoor music event, WARM UP.
In 2005 and 2006 he curated two London based 'All Tomorrow's Parties' club events, entitled 'Easy to Swallow', intended for the broad-minded, the events showcased Carl Michael von Hausswolff, Yasunao Tone + Hecker, Mark Stewart and the Maffia, Aphex Twin, Whitehouse, Surgeon + Regis Present: British Murder Boys, Lee Dorrian (ex- Napalm Death & Cathedral), Pita, Earth, Autechre, Robert Hood (ex-Underground Resistance). Both events sold out!
In November 2009 he curated 'LISTEN' at Aldeburgh Snape Maltings Concert House with Chris Watson, Bernie Krause and Tony Myatt, presenting their works on a 360° 'high-order' ambisonic surround sound system.
Haswell recently curated part of the audio program for "The Morning Line Istanbul 2010' project, European Capital of Culture 2010. Commissioned by Thyssen-Bornemisza Art Contemporary (T-B A21), working with Artists/Composers: Carl Michael von Hausswolff, Peter Zinovieff, Jana Winderen, and Yasunao Tone. These works were presented again in Vienna, 2011.
Haswell has contributed to Frieze Magazine articles on Japanese noise, computer music software and Peter Halley.
Lovebytes 2012 - Digital Spring
A Festival of Art, Science and Technology
22-24 March
Sheffield UK